hey what's up guys welcome back to the
channel in this video series we're going
to go over a brand new visual effect
shot so this shot is a reveal of some
kind of like alien infection or kind of
wound or whatever you want it to be
we're gonna go over tracking rotoscoping
and how to make a 2d effect appear as if
it has some depth inside of a pure FX
later on I think I'm also gonna show
some techniques that we can use in Maya
to maybe expand upon this type of effect
we're also not going to be going over
every single thing that I did to
recreate this moreover this is to
demonstrate various techniques that you
could apply to be able to do something
similar so you guys should come up with
your own effects there's lots of things
you could do with this you could do some
kind of like gross a scene like I have
you can do some kind of like cybernetic
thing in the arm whatever it is though
it has to make sense with a gauze pad
and it has to be a reveal so this video
series is gonna be a bit longer than
some of the other ones
if you're not interested in the
technical aspects of it you can just
skip ahead for probably like part 3 or
part 4 we actually start incorporating
the tracking in the roto but the first
couple videos were just setting up and
doing a lot of the technical aspects
very important that you learn it though
it's just tedious and it does kind of
suck it's kind of boring to do but as a
visual effects artist a lot of the work
you do is is not the fun stuff anyway I
hope you guys enjoy it let's get started
alright so let's get the plates inside
After Effects interpret the footage at
24 fps now remember in color management
we do not need to change anything here
because these are not linear plates drag
this down into a new composition and
then let's take a look at the shot so
this shot was taken on a Sony NEX six so
the quality here is not the greatest
there's a lot of grain in here that we
need to take care of our kind of mask
just with some color correction there's
also kind of a weird area with the
camera auto exposes and that the camera
goes kind of darker and brighter so the
idea of this is it's supposed to be a
reveal shot so whatever wound or
whatever you're doing on the arm like a
it could be do you have lots of options
for what you decide to do under the arm
but it's supposed to be a reveal so at
the very beginning you can't see any of
the effect and then as soon as you
remove the gauze pad then you can see
some kind of undulating
or some kind of progressing effect so
this is intended to be some kind of like
sci-fi or a horror type thing where you
know there's like an infection in the
arm but you could do something else like
I've had students before do something
like have maybe like an implant or some
kind of robotic or cybernetic implant
inside the arm or iPad kind of weird
tattoos or energy effects or something
that's very science fiction based it
doesn't have to be gross or nasty and it
could be a lot more subtle and more
realistic as well if you wanted it to be
okay so what we need to do here is start
by doing some basic color correction and
then we can't really do an awful lot of
this without doing some rotoscoping and
and tracking so the majority of this at
least from a technical point of view is
going to be the rotoscoping and the
tracking just because these plates
aren't particularly nice to look at
we're gonna go ahead and create a new
adjustment layer it's gonna be our color
correction layer grab the curves all
right so for the curves and what I want
to do is darken this down quite a bit
because there's quite a lot of grain in
here that I want to dis mask what I want
that to be hidden and then when I have
the curves down kind of where I want
them that might be a little bit too much
something more like this these plates
are only 8-bit so this was done before I
had my gh 5 that can do 10 bits so the
color correction and this is a little
harder to do but you don't have as much
range to do let's go to the red Channel
actually and then we'll also pull out a
bit of red make this kind of go more of
a sickly green and then from there what
we can do is go into the blue Channel
and then we can just add a bit of blue
to this so this is just a really rough
color correction right now just to get
started I kind of want this to be more
more you re looking the darker this is
the more flexibility you also have to
add some kind of glowing texture or
something like subdermal so you can have
something underneath the skin that's
kind of reacting and you can do kind of
like a subsurface scattering type of
effect all right so the way that
tracking is going to work we're going to
use a plugin for After Effects that
comes with after phase called mocha now
mocha recently changed the interface for
this and is actually now much easier to
work with so if you look online for
other mocha tutorials this might be
slightly different
but what we need to start by doing is
adding a mocha AE CC effect to the layer
that we want to track and then from
there what we're going to do is just
click on this mocha button is it gonna
open up the mocha plugin you can just
click register later and let me fit this
in my recording window so the very first
time you open up mocha is probably gonna
be under this essentials mode and the
essentials mode kind of removes a lot of
the interface that you really need to
work with so I prefer to work in classic
so an older tutorials that you'll see
online classic is usually a view that is
used I think it's only recently they
change these types of views here so
we're going to be working in classic so
the way that you use mocha you can use
the scroll wheel to go forward and
backwards and scrub frame by frame or
you can just scrub and by clicking the
time navigator and dragging it its to
pan you just hold down the middle mouse
button and click and drag to zoom in and
out what you need to do is click the Z
key on your keyboard and you hold it
down and then you can click and drag
with the left mouse button in and out
and this is how you can go forwards and
backwards and then right clicking here
is not going to do anything there's no
navigation involved with right clicking
okay so the first thing that we need to
do here is start tracking the things
that move so just to quickly summarize
what tracking is gonna do is it's going
to follow pixels and as you can see my
arm is not perfectly still if like if
you look very closely it is moving quite
a bit and unfortunately I did not put
any tracking points on the arm so this
is gonna be a little bit tricky to track
and because this shot is a reveal shot
what you need to do is track this area
you can't track probably the easier
things to track in this case like the
wrists because they're not going to line
up with this Center track the really
there are three tracks that you could do
for this you could have a track over
here for the right side of the arm you'd
have one for the center and then one
over here for the wrist as well but
because this has to be completely hidden
at the beginning whatever effect that
you use when it grows out it can't
really go that far otherwise it's not
going to look particularly realistic
especially that this shot is only about
200 frames so where is if it expands
that quickly it's
it's probably not gonna look that great
which in this case is to our advantage
because we really don't want the entire
arm to have to be tracked so when we're
looking at what we actually need to
track the way that Moka works is if you
track a region that is going to
intersect another region so for example
we this hand is going to intersect the
area of this gauze pad we really should
track the hand first or the fingers
first and then we can use this as a mat
so this gauze pad will ignore the region
that the hand comes in this is to
prevent the track on the gauze pad from
shifting when the fingers like occupy
probably a good half of that track right
so this will become more evident as we
we continue here but what we're going to
do is actually start with the hand when
you're trying to find a region to track
you should probably start by finding a
place where that object is most in frame
so for us is gonna be a somewhere around
this region between maybe 70 and-and-and
30 something around there I'll just say
we can just start maybe yet frame 70 and
then we'll move backwards and then move
forwards so we're looking for the pen
tool with little X this indicates an X
plane if you hold it down you can also
access Bezier splines as well and the
little plus icon on both of these is so
you can add points after you've already
made the spline so in this case we're
just gonna use X blinds and what you
need to do is roughly trace around the
hand now I'm gonna hold down the middle
mouse button just drag down so I can go
see this kind of this void area down
here and then I'm gonna give myself
quite a bit of clearance as I go around
the hand to close the spline you just
click the right mouse button and then it
will close you don't need to physically
select the other point just close
anywhere and then the last line will
connect so when you're tracing around
you need to make sure you have enough of
gaps between the region that you're
tracking I have quite a bit of a buffer
around here this is to give Mokka a good
idea of contrast so a lot of tracking is
actually contrast detection so this hand
doesn't have a lot of contrast within
its
but when you compare that with the very
very white background of the gauze pad
then it's easier to track so you never
want to be right next to the edge you
always want to have some kind of buffer
there okay so next what we want to do is
go down to this input channel I prefer
to leave this on auto channel because if
it's just luminance it's not going to
take into account color information so
there is quite a bit of color
information as well as luminance here so
actually be able to figure that out by
itself next we have the minimum pixels
used so the minimum percentage here is
it randomly will sample pixels to track
or follow as the frames continue so the
more you specify so I could say
something like double click this and
just type in 80 the higher it is
generally the more accurate the track is
going to be up to a point and that point
is if a lot of those tracking points are
going to be intersected by some other
object or they're going to go off-screen
your track will lose quality as the
animation progresses or as the track
progresses so it's a balance you have to
figure out what your use cases here I
have done this several times before so I
know a value of around 80 percent it's
fine if you use a very very low
percentage sometimes it can miss areas
that it really should have tracked so
for the channels that we're tracking
we're going to eat just leave this on
the transport standard transforms but
we're not going to do perspective well
I'll explain what that is later and then
for the motion large motion generally is
what we're going to be using for this
small motion is more like micro jitter
like very very small amounts of motion
so for this we'll leave this on large
motion okay so if you look up here
underneath the timeline we have our
standard playback controls we're not
really going to use these too much we
care about the ones that have the little
T icon in side the play button and for
this you can either go backwards or
forwards it doesn't really matter I
think for this though I'm going to go
backwards so this is play backwards
automatically and this is play one frame
backwards so I'm gonna start tracking
this backwards and this is going quite
slowly so I might speed this part up so
right at the very end here we notice
that the track kind of gets a little
confused as the fingers contract and
then that region suddenly gets smaller
and it can't really there's not
a contrast here for it to detect that
and it gets a little bit confused now
for us it's not huge there's not a huge
importance here but what we can do if we
wanted to fix this you try to find the
frame just before the track begins to
slide or begins to not follow it quite
as well so here that's frame seven for
me so to set a manual keyframe you can
come here to the little key icon and
just click the key that will put a green
arrow on the timeline that kind of
indicates that you have set your own
keyframe then we can go forward to the
end here and then just pull these all
down mocha uses an auto keyer so you
don't have to reset another key if you
do it's actually going to delete the key
and we can just look at that and that's
fine for what we need if we wanted to
add another one here we could do that
and just by pulling these down as well
okay so that's fine for the hand and
what we're going to do is we're going to
label this as the hand so just double
click and rename it to be hand alright
so at this point what we need to do is
then go to frame 70 and then track
forwards now when we're tracking
forwards I think that we might need to
adjust this track just a little bit
because the hands might as they turn
might slip out at this region
so we can tell we're losing some spacing
here it's not very accurate
so I'm gonna go ahead and stop the track
at around frame eighty we begin to lose
that track so what I'm gonna do by frame
90 or let's let's go to frame eighty
will set a manual keyframe so the manual
keyframe is this key and we can go
forward about 10 frames or so and then
we can just reposition these points here
it's a little bit more flexibility move
this over pull this in and do something
like that and then we'll continue
tracking forwards now we are losing part
of this now so we do need to extend this
point out this point out as well but I
think this is going to look pretty good
it's going to work out
to make room for the thumb now what we
have here if we have the we have a big
gap but do need to make sure this is
covered this needs to be higher up now
you can be pretty pretty lenient on how
accurate this track is for the fingers
because we're not really using the track
of the fingers to put an effect on them
we're only using it as like a general
mat and then here this thing really is
not not great we do need to pull this up
quite a bit
all right so what is this tracking ended
prematurely that just means there's
nothing left to track anymore
and honestly all's we have to do is go
around this region
there and they would track backwards on
these frames now anytime you have two
keyframes it will always hit those two
keyframes and then the track in between
is kind of an average of those two
keyframes with some of the track as well
so it's not just using the tracking
information is also using your keyframes
as well and the more keyframes you have
the lefts automation you're actually
getting with the track okay something
like this is I think it's going to be
alright for what we need later on I
don't think that we require we don't
even see any other thumb so up to here
and then we're done we don't need
anything else okay so the next thing we
have to do after we finish making a
layer then we're happy with the track
you need to click the gear icon so the
gear switch allows that layer to be
ignored for from future calculations but
what we can do is actually use this as a
mat for this next part I'm just gonna
show you something I wouldn't follow
along with this this is just for a
demonstration let's say I'm trying to
track this region of the gauze pad and
then I track forward notice what happens
as the hands come in that track just
gets completely pushed aside and it's
very very difficult to track with this
but what we can do instead if we take
this layer and pull it underneath the
hand and then go back to the beginning
and retrack it now layer seven is using
a mat of the hand so we'll still get the
tracking to end prematurely here because
there's nothing left for it to track
because this area of the hand is kind of
taking over that region but notice that
it doesn't move as the hand comes over
it because it's ignoring this region so
if the layers above and the gear icon is
off it acts as a mat in mocha for this I
don't actually need this there that was
just for a demonstration so I'm going to
turn that off what we are going to do
instead is grab another spline tool and
then just roughly trace around the gauze
pad now when you're doing this you do
want to limit the number of points you
use because the more points you have the
harder it gets to manipulate and this is
kind of a technique in rotoscoping as
well that we'll talk about later and you
do want to make sure that you have a
nothing gap between the gauze pad the
table
and the arm I'm gonna rename this to be
gauze pad then we'll pull this
underneath the hand remember it if you
hold down the Z key you can zoom in a
little bit and then I'm gonna track
forwards to notice now the hand is
coming over the gauze pad and it's not
being affected at all
all right so about a round frame 90 the
gauze pad track begins to just mess up
quite a bit so what we're gonna have to
do here so let's select the gauze pad
and then gonna frame back to like frame
90 let's go to frame 90 set a manual
keyframe and let's go forward well pull
these in and just try to put this spline
around the white parts but this I'm
going to step forward just different
couple frames at a time here just so
we're not leaping forward please in a
bit more now here you can see that the
gauze pad is twisted so we do need to
make sure we're tracking the whole thing
this part of the track is the hardest
one to do and most of this manipulations
actually going to be done in
after-effects but if you can get like a
good rough track of this we'll be in
good shape
distract boards from here
Paul the
points up higher up
so from here I think it's going to be
pretty easy to finish up the remainder
of the track there might be a point
where this gets stuck at the end also
it's missing a little bit of this part
here so I do want to make sure I'm
accessing this as well
and this is where our shot ends
all right so I'm fairly happy with that
track that's definitely usable and we
can proceed all right so now what we
need to do is we need to have actually
two copies of this gauze pad because
what we're going to do now is set up an
area where we can put a planar
projection on this so omocha allows you
to do planar tracking as well as just
general transform tracking so so far
we've just done some transforms but what
we also want to do is specify a region
where we can just put a plane directly
on this and with that plane we can paste
images we can paste compositions have a
lot of control and you can use it
directly with the corner pin tool inside
of After Effects so to do that we
actually want two of these gauze pads
right click on one and then duplicate
and on the first one we'll say this is
the front and then the next one is going
to be the back but we'll start with the
front and then we need to select this
little blue square with an S so show
planar surface and what this is it gives
you four corner pins so we can just move
these corner pins roughly where we want
the image to be so imagine this is a
composition in After Effects and we're
placing the entire comp and we're
squashing it down to fit inside this
square and inside the square we can do
things like a stain on the gauze pad for
example and as you move this you'll
notice that it actually tracks with the
existing track here now it does mess up
at this point and there's nothing we can
really do in mocha and in fact I think
it's easier to fix it in After Effects
than it is in mocha so that's the
technique I'll be using but we can get
all the way up to about frame 97 before
the track breaks and then we just have
two or three more frames to manually
tweak with a corner pin inside of After
Effects so at this point where it flips
over then we're going to switch to the
back of the gods-- pad also we can turn
the gear icons off of these as well
since we won't be needing that alright
so for this I'm going to go to maybe
around frame 135 and we're just going to
reposition this corner pin now if your
corner pin has moved quite a lot you
need to just keep note of the
orientation here
if you're the topmost corner pin the
line should be at the top and if you're
on the left-hand side the line should be
going on the left-hand side it's
sometimes a little easy to get confused
as you're repositioning these
all right so as we move this one we do
want to make sure that we are keeping
this as square like as possible
otherwise it's not going to really work
out too well in after-effects and try to
keep it kind of in perspective with the
lines of the gauze pad if you can like
here kind of gone a bit off do something
more like this
this part here is also the same type of
issue where most of this surface on the
front is not visible from this planar
projection but we can make it work out
in after-effects so this is quite good
another option you have here is to turn
on this pink grid and the pink grid kind
of helps you just to see the perspective
of what you're doing but here it looks
alright the lines don't line up
perfectly but it's close enough for what
we need you want to just tweak that just
helps you get a little bit better
perspective
nothing more like that likewise you can
do this on the front as well when you
can see that these lines are more or
less parallel with the lines on the
gauze pad we're going to save this so
click this button here save the project
and this actually saves inside the
after-effects effect so remember
everything is being saved here now that
in the past your mocha files were saved
as a separate file which is sometimes
useful you can also go into export
project and you can actually save this
as a mocha file but it is a little bit
more convenient now that these files are
directly saved in the effect alright so
next thing we're going to do we're going
to make a new folder because all of
these layers here are going to actually
be a mat for the skin track which is
going to be right in the center here and
turn out this pink grid and I'll select
all of these layers
and then click on this little new folder
icon and they all group together double
click and I'll just gonna call this NAT
turn the gear icon off of that if you
want you can also open this up and see
all your layers
all right so what I want to do here I'm
just gonna go to frame 105 and I'm just
gonna make a pretty rough selection but
I'm making sure that I keep both of
those freckles and we really don't need
to track an awful lot here but we do
want to make sure that we have quite a
bit of the table in the shot as well
I'm gonna move this layer underneath
Matt alright so for this next part we
actually don't really care about scale
rotation or shear we're only looking at
the main transform so just the position
shift what we can do we can just disable
scale rotation and cheers you just have
to click one of these and they'll all go
out then we're just going to go
backwards one frame at a time just to
make sure that this track is working
but we don't see any movement there like
any noticeable sliding
then we can keep going there's a little
bit of a slide there
that's mostly good and then we're gonna
get a premature error in a second yeah
right here this just means that this is
not enough region to track and really
that's that's fine for us because
whatever effect we have here should be
completely hidden at this point anyway
okay so then we can go back and then we
can start tracking forward just a few
frames here these it's sometimes safer
to do these per frame tracks instead of
letting it go forwards because as soon
as you realize is a problem you have to
wait several frames before actually
stops sometimes this is pretty good and
then we can we can keep going forwards
at the the automatic rate
that looks alright
so I think this looks pretty good one
thing I wanted to mention and we didn't
actually need to use this but if you go
down here to the dope sheet if you need
to specifically delete one key frame
that the tracker produced you can go
ahead and then select these points on
the correct layer and you can just
delete them with the Delete key
sometimes the tracker has a frame where
it just gives you a very bad track and
it would be easier just to delete the
track or and manually move it rather
than trying to start over with a new
layer so don't forget about the dope
sheet down here it is useful for
selecting different key frames and
deleting those for the automatic tracker
so everything that's in purple here this
light bluish purple color so we can go
ahead and save this and then head back
into After Effects so what we need to do
now let's just go to the very beginning
here by the way the shortcut key to fit
up to 100 is the shift slash or just
imagine you're clicking the question
mark aqui Oregon's do fit up to 100%
next we want to add a nice solid and
will say gauze pad front for this first
one and what wouldn't to do will pull
this underneath our color correction
there and Ashly turn this layer off
let's go into our effect open up the
tracking data and then here for the
export option and we need to say corner
pin supports motion blur by default and
After Effects layer motion blur only is
recognized if the layer is self is
moving and it doesn't recognize effects
so what mocha does it actually moves the
layer and then tries to reposition the
corner pins to match exactly where they
were so we do actually need this option
on otherwise you won't get any motion
blur and we need motion blur we're going
to export this to gauze pad front and
then we're also going to do create track
data up here say which one we want we're
going to open up mat this is the gauze
pad front click the gear icon click OK
and when you do that you should notice
you have four tracking dots this
indicates that it is the correct track
and then the last step which a lot of
students forget you actually have to
apply the export so apply export and
then on the gauze pad itself you'll
notice a corner pin and these corner pin
points are the same as what we had here
okay so if we turn the gauze pad front
on you can see that we basically have
this entire layer compressed down to
this square and as we move around you'll
notice that hey it works so there's a
part here in the center where this is
going to start failing we'll look at
that later
but right now what we're going to do is
just make a new solid and then go ahead
and add in the back of the gauze pad
and turn this off and for this I'm going
to go towards the end so now we go back
to our plate pretty eight-track data and
up Matt this time we'll do gauze pad
back click the gear icon click OK
or exporting this to the gauze pad back
layer then apply export now we can go to
the gauze pad pack turn this on and now
we have one on the gauze pad back as
well alright so for the last one here we
actually are not going to use a corner
pin track or the skin we're just going
to use a transform track so for this
we're going to make a new null object
and we'll just type in skin track then
for this we're going to go create track
data skin turn this on click OK
and then for this we're exporting just a
transform
and then we're exporting us to the skin
track and click apply export
we get a bunch of points he's like you
and you'll obviously keep rims here
regardless of whether you track those
frames or not in mocha all right so we
can just click you again collapse that
layer and the next important thing that
we need to do is rotoscoping so to begin
our rotoscoping i'm actually going to
turn off the color correction layer
after so we can see everything a little
bit more clearly next I'm going to
create a new solid and when you're doing
rotoscoping you always want to do your
rota scopes on a new solid there's very
very specific use cases where you might
want to have your masks directly on the
layer that needs the mask but it's far
more robust if you put this on a solid
layer we're gonna start out by making a
gauze pad roto solid and then we can
just turn this layer off it doesn't
really matter where we put this right
now because there's nothing that needs
it
next we're gonna grab a pen tool and the
way that rotoscoping works that this
example is very very simple so if we
look here we need to make sure that we
have a stain on the gauze pad on the
front side and the parts of that stain
that are going to get blocked by the
hand need to be removed as the hand
comes over so we have to trace around
the hand and remove the hand we also
have to trace around the gauze pad
because when the gauze pad is lifted up
at this point we need to begin to reveal
what's behind it so the idea of
rotoscoping is simply to cut out things
that are on top of other objects but
since this is all a 2d image we have to
actually cut around those objects so
there are lots of techniques that are
involved with rotoscoping I'm just going
to show you some very simple techniques
this is a very simple rotoscoping job so
we're probably actually just gonna start
here with the fingers when you start
rotoscoping you need to look at things
that move independently all these three
fingers are occluding this main stain
that's gonna be on the gauze pad they
all move slightly differently and you
could group these all together as one
but in this case it would be easier to
deal with if each finger had its own
Basques let's start here with the index
finger and on this skin track I'm
actually gonna to just turn that layer
off so I hide the null label there it's
kind of irritating and what we're gonna
do we're just gonna zoom in and then
we're gonna start adding points with our
mask now when you're rotoscoping things
that are gonna overlap definitely make
sure your points overlap and we don't
need to be very precise here we're
really only concerned about anything
that borders the gauze pad if it doesn't
then the mask doesn't really matter so I
can do something like this the stain or
whatever is not going to be over here
and there shouldn't really be any of the
wound visible on the arm at this point
anyway so I'm gonna pull this up here
you also want to try to limit the number
of points that you use and not only that
you want to limit the number of curved
points in this case here on the
fingernail we click and drag this we do
get a round point lookup is a spline
there the problem is these busiest
blinds are actually quite difficult to
manipulate so you want to keep those
at a minimum so I'm only using those
where things are clearly browned all
right so that is good click em on your
keyboard and then we'll just call this
index finger
and next what we want to do we want to
set at the mask path gonna keyframe this
channel and then with rotoscoping you
almost never wrote a scope in a linear
fashion like you don't go frame-by-frame
and do it what you need to do is find
key positions much like when drawing 2d
animations usually you don't start just
going from the very beginning all the
way to the end you find the key poses
and then you in between those same is
true for rotoscoping what do you have to
do is you have to look at the border of
this mask and then at the point at which
the object you're tracking is the
furthest away from this line that is
where you should move the spline back up
to match we look here this is going to
be around frame 35 and after that it's
going to begin to come back towards this
spline so for us at around frame 34 35
maybe even 36 this is as far as the
thing that gets away from the mask so
now what we can do we can realign this
mask with the finger
I'm clicking V to select it you can also
do it with the pen tool you have to be a
little bit more precise with where
you're clicking otherwise you can
accidentally add new points
now in this case I know that there's
nothing going to be over here so I don't
really care if this is that accurate if
you wanted to you can always add another
point but adding a lot of points is
going to make it harder to rotoscoped
later also if you delete a point it will
be deleted everywhere but adding points
is would be fine in most circumstances
alright so now we've got forward and
then what we can do is go in between
these frames and then do the same thing
find the point at which the finger
deviates from the mask the most so this
is around frame 33 and then realign
frame 33
I'm going to hold down the pen tool here
use the convert vertex tool just to
convert that into a curved point just so
we are making that a little bit more
accurate and then we can go in between
these two points here and see that
around room 28 the finger is slipping
down from the mask and then we can just
make those adjustments rotoscoping is
extremely tedious but it is an art so
you do we need to spend some time with
it there are tools to help you automate
it but those tools often come with their
own problems and caveats and I just want
to show you how to do it the traditional
way so the finger is mostly splat up
until around frame 14 where it begins to
curl inwards so I'm going to keep this
mask at around frame 14 this reposition
it
and when you are trying to figure out
where the finger ends and the gauze pad
begins try to keep your distance
consistent around the finger you also
have to figure out how much motion blur
you want to add into the mask and the
more consistent it is the easier it is
to deal with all right so here see how
at frame 19 everything is fine but as
soon as we go to frame 17 the mass
begins to creep forward towards the
finger but everything is good at frame
19 so we'll just pull this forward a
little bit
move this up and just tweak some of
these points here the fewer points you
have and the fewer keyframes that you
have the smoother the overall animation
is going to be and the better your
rotoscoping is going to be in general
most of the time each frame will have a
keyframe on it as you do very very small
subtle adjustments but it's important to
use this kind of keyframe method as you
work your way through your rotoscope
just creep backwards here what we can do
is go to a position maybe like frame six
just pull this down here
the faster the animation moves the more
lenient you can get with finding your
key positions because I move so much
and as soon as this is off the gauze pad
I really don't care about the rotoscope
anymore
so this is gonna give us a pretty good
rough estimate of where the finger is
until around frame 35 then we have to
continue this all the way to frame 100
because after 100 you won't be able to
see the front of the COS pad anymore the
thumb is gonna have to be rotoscoped as
well until probably around frame 110 and
then whatever stain is on the gauze pad
is probably not going to creep up all
the way so I went ahead and just
finished up the rotor for the fingers
now before you actually did the same
thing I just wanted to show you a couple
things here one of the things is to hide
locked masks so to enable this you want
to go to a layer mask and then you want
to have hide locked masks enabled and
what this allows you to do is when you
have several masks all in one layer and
when they overlap sometimes it can be a
little bit hard to see so what we want
to do here is if we after you finish the
index one you can lock it and then
you'll see that disappears after you've
done the middle finger you can lock that
one as well so then when you get to the
end here to the ring finger you're only
viewing one mask and then you could lock
that as well but then listen not really
any point it's mostly just to clear up
the workspace but as you are selecting
and as you continue as you are
rotoscoping your masks that's one thing
another thing is by default it
automatically gives you a different
color and sometimes for example the
first color here is not particularly
easy to see so you can always click on
these color swatches and you can change
the color to make it a lot more
saturated you can do this in the
settings as well to always have a
specific color if you want to have that
otherwise it will just randomize the
colors that it gives you for your masks
another thing is just to clarify and I
don't think I said this at the beginning
when you're selecting your masks if you
select the layer the mask points are all
going to be little circles and the
circles mean that the mask is not
selected as soon as you select that
layer all of these little dots go to
little squares and that means all the
squares are selected so if you are on
the move tool and you click and drag
these you're moving everything together
if you only want to select a single
vertex or a selection of vertices what
you need to do is click off once until
they all change to little circles and
then you can select the ones you want so
you can hold down the shift key and to
select multiple ones or you can hold
down the shift key and then click and
drag to marquee select the points that
you want another thing is if you realize
later on let's say I want at this point
to be a busy a curve you hold this down
you can go to the convert vertex tool
and you can convert that and then you
can convert it back as well you can also
do on the pen tool if you hold down the
Alt key you can access the vertex tool
as well so holding down alt and clicking
it will also access that control so
after you have your roto masks kind of
in place
you're really not done so if we turn
this on this is gonna produce a very
very sharp edge and there's a few
different things that we can do to help
blend this in a little bit
but before we really do that what we
want to have is something on the gauze
pad to check and all we have right now
is if we go to our gauze pad front I'll
actually pull this layer up we turn this
layer on so to see how good our roto is
what we need to do is take this gauze
pad front set the track mat to be alpha
inverted and then you get basically a
cut out now the cut out though is not
going to be wholly accurate because
we're only gonna be focusing on a
smaller area of this gauze pad but this
should give you a very brief look to see
if this is gonna actually be usable or
not so right now the edges are really
hard so let's unlock both these masks
here click F on that layer and then we
can bring up mask feathering the mask
feathering is just going to blur the
edge a little bit I'm going to select
all three of these masks and with a
value of around 12 we are introducing
more of the gauze
Patt in here but then what I'm gonna do
there is another option here called mask
expansion so you can pull in the
expansion of those masks so sometimes
that is quite useful to do as well so a
value of around negative six here is
probably going to be pretty good see
that one clear set went up a little bit
could also do the same thing for these
as well negative six you can also use a
simple choker effect and a simple choker
will do more or less the same thing but
on the layer basis so you can choke in
the mask all at once choking in the mask
though is going to produce a harder edge
it's not going to look at your
feathering so you could use a
combination of a simple choker with the
channel blur or fast blur or you could
use a combination of the mask feathering
and the Messick expansions or all four
together but I would just pick two for
this so using the mask expansion we kind
of pulled that in a little bit as we
look through this this is probably going
to be okay for right now but we're
probably going to need to address some
issues later on another probably the
hardest part of this is getting rid of
that really really white border so the
way that we could fix that if we need to
is use a combination of rotoscoping and
then also a key because this is quite
bright so we could also key out the
brightness and we could use that to help
fix that area in between the region
where we've masked out and maybe areas
that we've missed as well so for now
this is going to be fine it's enough to
at least be able to send it to a client
and the client will understand that
rotoscoping is not going to be perfect
on the first run the next thing we need
to run out is going to be the gauze pad
itself now I actually called this gauze
pad roto and ended up doing the fingers
so this doesn't make a whole bunch of
sense here so what we're going to do was
call this fingers roto and then we're
gonna go and add a new solid and this
will be our gauze pad
and turn this layer off and the goth pad
is actually gonna be fairly
straightforward here because the only
part that we need to be very accurate on
it's gonna be this edge and right here
as you begin to turn the gauze pad over
and this also might need to include some
of this finger as well depending on how
accurate that previous layer was but for
this layer specifically right now let's
just focus on the gauze pad what we
really need to figure out here is there
probably at around frame 100 we can
start working forwards until maybe about
frame 20 and then it's so low down we
might not even need to finish the roto
it just depends so let's start here
actually at frame 100 let's start just
by putting in some basic points the part
that needs to be the most accurate is
going to be this line right here because
this is going to be in direct contact
with whatever effect that we use when
you get down to the thumb here we can
just imagine where the gauze pad is for
now and I feel like I can just close
that for now and just leave that there I
don't really want this to be a Bezier
curve so I'm just gonna hold down alt
and snap that back into just a regular
linear point click em
and then we're going to go ahead and
rotoscoped this as well so for this this
is changing quite drastically from 100
to 110 another thing that you can do
which is quite useful is to select
everything click ctrl T this brings up
your free transform and then you can
just rotate the entire mass selection in
one go and you can click enter to lock
it and then you can resume adding your
points now I'm not very concerned about
this edge right here because it's not
going to be in contact with any of the
effect on the arm it's just this edge
here that we really need to make correct
we could also use a combination of a
garbage matte which is just a temporary
mat just to get a basic selection and
then do some limiting but I think I'll
just want to show you how to do this
manually for right now we might come
back to use that technique if we need to
and then we're just going to go
nealy midway between here and this roto
right now is quite rough what I advise
you to do is do a fairly accurate job
the first time but if you go in and put
in several hours worth of a rotoscope
while it might be very good in the long
run you might end up not even needing
half of that roto so it's always
sometimes better to have more than you
need but if you are in a time crunch
you never know the shot you're working
on could even be canceled so I would
just start off with just a more of a
rough map just to have some kind of
basic idea of where the mask is going
we're not fill that in just a little bit
more just in case so we wouldn't need
that later but I'm not going to spend a
huge amount of time finessing every part
of the road Oh
part of the problem here with these
plates is the the fact that they're so
low quality sometimes getting a good key
off something that's very low quality or
something that has a lot of distortion
there's often just as difficult as a
rotoscoping is the rotoscoping at least
the techniques kind of work across
whatever the quality is whereas a key
really does require you to have you know
decent decent quality and most of the
time with a key you end up doing some
rotoscoping anyway so you'd like to look
online or ask me in the comments how you
can go ahead by making a mat out of this
using a combination of roto and luma key
not sure if we will discuss it here
because I think this is gonna work but
just let me know and I might make
another video on that in the future
all right so for right now we're gonna
say that's good and then we'll go to
frame and we'll actually go to 97 here
select this whole thing again
move this up control T rotate it back
around
and it's never wrong to just Rodo a
section of an object that turns a lot
and then just switch to a completely new
mask at all that's also perfectly fine
to do and in some situations that is
what I would recommend especially for
body parts things like arms and legs
sometimes that the orientation changes
quite drastically and you end up not
needing half of the points that you had
sometimes it's prudent just to start
over with a new mask and continue on
from there with just a more simplified
selection
now this part up here this part of the
gauze pad sometimes you get into this
habit of trying to match all the points
precisely without actually thinking what
you are rotoscoping so just remember now
that the effect is ever going to be
visible up here the only places where
this mat is actually going to be used is
it's going to be at the edges but make
sure the edges are good but anything
above the arm like in this table area
really doesn't matter at all
and even down here at this point in the
in the shot there really shouldn't be
any effect here so we can do kind of a
rough job like that nothing that'll be
enough probably the part that's going to
be seen is this section here at the
right hand side
all right so I'm probably just going to
leave the roto as it is for right now
and then we can move forward rotoscoping
is never something that you do right the
first time and then you're kind of done
okay so here is my roughed in roto for
the gauze pad so I've carried this on
from the beginning to the end there are
certain frames I'm probably gonna have
to go in tweak but it should give us a
good idea of how to view the effect
without having the gauze pad get in the
way as I said earlier there's gonna be a
lot of things they're going to be very
particular to the effect that you're
trying to demonstrate here so if your
effect goes lower you might have to
worry about the effect lower but if if
not if it's more confined to the center
you won't need as much roto likewise on
the gauze pad there might be cases where
you need to rotor the thumb in this case
I have decided not to do the thumb but
we'll just have to see as we as we go
ahead with this all right so the next
thing is both of these layers the
fingers roto and the gauze pad roto
these are going to be used over and over
and over again specifically the gauze
pad roto so what we need to do we need
to have this pre comped and if it's
pretty calm that means any copy of that
pre-comp is going to be instanced so we
can just have the same copy in multiple
places and any change to one affects all
the copies so to do that all we're going
to do is precompose this layer so
control shift to see or you can right
click and say precompose i'm just going
to call this gauze pad urato and we're
going to move all attributes into the
new composition
copy the plates and paste these in and
drag these underneath so with the copy
the plates inside of the louses to keep
working on the rotoscoping and see what
the rotoscoping looks like with the
plates now the problem here is if we go
back outside this comp turn this layer
on and then solo it since this includes
the plates these plates are not covering
up everything beneath it so what we can
do instead select this layer go to layer
guide layer and you'll see this little
cyan grid show up and the guide leonard
means that only in the composition that
you're currently viewing
will this be visible it will not render
and it won't show up out side at this
composition if we go back to the
armament now and then solo it we're now
just seeing that rota mask
you can do the same thing for the
fingers roto if we need to duplicate
multiple copies of this but I think
right now the only thing that's going to
need this is going to be the stain on
the front of the COS pad alright so at
this point we have enough technical step
out of the way in terms of the tracking
and rotos so we can at least start
playing around with the facts so for the
remainder of this tutorial series I am
NOT going to be showing every single
thing that I did in my example that I
showed you to create that effect there's
two reasons one I did this several years
ago so I do not remember exactly what I
did the second reason is this video
would be like 10 hours long and I don't
think that many people would care for
that length of a video moreover this is
to demonstrate effects and techniques
it's not to recreate exactly what I did
so if you would like to attempt to
recreate what I did awesome that I'm not
going to be showing everything I'm gonna
be showing how you can make a 2d effect
and look 3d and I'll be using my
previous example as a reference but
we're not gonna be copying exactly a
little later on we'll also take a look
at how we can create some 3d effects in
Maya and then bring them in and see what
we can do with it we're not gonna go
down that route for the entire thing
though I just want to show you some
alternatives to this method there's also
quite a lot of rotoscoping and tracking
Corrections that have to be made on this
I'll show you the hardest parts but
we're not gonna go frame-by-frame
through the entire thing alright so if
that still sounds good let's continue
turn on my is a color correction there
and the first thing I want to do now let
me go to my gauze pad front layer turn
this on we need to convert this into an
actual comp and then we can stack
textures on this to make it look like a
bloodied gauze pad so to start this
we're just going to select this layer
controller v see I'm gonna get rid of
the comp 1 there we do need to leave all
attributes because we need the corner
pin to remain outside the comp click ok
next we're going to lock our current
composition and then we're gonna double
click on the gauze pad front comp double
click this will open up a new comp
window and drag this to the side and
then we can look inside the gauze pad
front comp which is the orthographic
view and then it's already in
perspective here and tracked in the main
composition so this layer that we had in
here is kind of useless at this point
let's get rid of that and what we need
is some kind of mat to use for the
majority of this texture so what I
suggest
is something like this this is like a
stain on some concrete so when you are
looking to replicate some kind of like
blood or stain like this a couple of
things for textures you need to look at
the pattern and the actual individual
texture itself like can you use this to
recreate some kind of stain if the
answer is yes awesome
don't worry by the fact that it's
concrete nobody cares if you can make it
look like it's blood or whatever you're
trying to do then that's great they also
don't look at colors you can always
change the colors value is far more
important so second thing is if you are
trying to find references of like a
bloodied gauze or you want something a
little bit more gory if that makes you
uneasy what I would recommend is looking
for fake blood or makeup or prosthetics
movie makeup something like that so when
you're looking at images what you see is
not real so it should give you a little
bit of peace of mind okay that's just a
little tip I have for students that
don't want to do something that's gory
and for this if you don't want to do
something gory it doesn't matter like
just the gauze pad has to make sense so
there's something on the arm let's say
it was some kind of cybernetic thing
that you just added or some maybe even
some kind of like steampunk addition to
the arm you could have like an oil stain
or something on the gauze pad or you
could do something where it's just some
kind of liquid that's not blood it's I
don't know you guys got to figure that
out but it does have to be a reveal and
just have to make sense why there's a
gauze pad here all right so I'm gonna
import this crack this down so the first
thing that we want to do here is make a
mat so this does not go right to the
edges and if you wanted to replace this
texture and feature with a different one
if you put the roto mask directly on
this layer it's not a good idea so
instead we're going to make a new solid
we'll just call the stain mat and on
this we're just gonna grab actually we
can just double-click this rectangle
tool that will make a mass that's the
same size and we can just pull in the
edges or you can go into your mask
expansion pull down your mask expansion
anything kind of like that set this to
be alpha and now it's not going right to
the edges but the whole point of this is
so we can feather these edges so we get
a little more of a blended blended edge
there
need to pull this in probably a little
bit more in fact these upper edges what
we can do did you control t hold down
control you can actually pull these up
and then we can just feather this a lot
more and take the expansion down even
more
might be a little bit too much there
let's tone down that feathering
unfortunately with using mocha if you
are trying to apply tracking data to
something in sixteen by nine then the
layer itself also has to be sixteen by
nine so we are having to squash this
texture one thing that we can also do
here we can't actually just physically
drag this out so we get more of a more
of a normal-looking texture I guess
rubber curves and I just want to
brighten up the darker splotches on this
okay something like that will be pretty
good for what we need and also add
something like a vector blur now don't
forget about vector blur
and by the way just to reiterate here
we're actually working in this comp but
we're just we're looking at this one
because this is what the final results
gonna be so it matters more what it
looks like here then here could do
something like 20 or something kind of
makes it look a little bit more
interesting and then we could just blur
it I could just grab a fast box blur
grab this over just crank this up mmm
maybe something more like that it was an
interesting pattern may have blurred
that a little bit much but
I kind of like that an interesting
effect so
both of these layers themselves are
actually going to be a stain so we're
just going to call this stain matte
then we just need a nice solid
and then this will be the actual blood
this needs to go underneath here and
then for the track Matt what we're going
to say is luma and then we get something
that's a bit more interesting to look at
here now of course we don't want this to
be black or I don't want it to be black
so I'm going to grab a fill effect and
the fill effect we can actually we'll
just leave it on the default and instead
I'll control the color for the curves
I can do this a stain Matt Kampf and
then just play around with the placement
here
I actually just scaled this up quite a
bit let's play around with the placement
here if we moved this over will actually
get more of a stain in the center which
is probably closer to what we want I
don't really want this gap here the
center of the the gauze pad is probably
going to be more saturated so that's
something one that is pretty good we get
like these nice areas down here that are
not as full I think that will be I'll be
better but pop back over to the arm
wound here and then we're going to set
the mode to multiply
it's gonna darken this down quite a bit
and this is more like what we want to
achieve we can also blur this even more
at this point something more like that
and then it's just a case of figuring
out how high up we want this to go so
I'm just gonna play around with some of
the placement here with this stain Matt
I think what I'm gonna do is take this
drag this higher up and go a bit higher
got that down a little bit pull this out
by adding more contrast you'll add more
splotchy bits but one thing that you
need to take into account is probably
the center of the gauze pad is going to
be the most saturated and deep darkest
part so let's do something like extra
blood
a little circle or something and then
there's other effects like roughing
edges which we used a lot before crank
the border all the way up crank the
scale up turn this off
and get like nice splotchy areas like
that grab a fill effect then we're
actually going to darken this red down
quite a bit then I'll just feather this
mask a little bit
you
now one thing I did want to mention here
the blending mode using that multiplied
vet blending mode me pop outside muchly
gonna hide these tracking points turn
off their controls temporarily you want
to be able to make sure that we can see
the texture on the gauze pad like these
lines of the fabric if you don't see
anything like if it was just like more
normal it's just gonna look fake by
using the blending mode where we're
integrating that pattern and that's what
we want
I'm not really certain about this part
in the middle of it
just play around with something felt
that needed a little bit more but now
that I'm looking at it again I think
we're losing some of that nice texture
inside
I grab a second roughing edges here just
to allow us to break apart this basic
shape
all right so I'm fairly happy with that
for right now now let's actually see how
this looks as it plays forward so the
rotor looks fairly decent to just eye we
can see it kind of cutting through the
tip fingertips there but for right now I
think that's going to be okay and then
it moves with the gauze pad as it turns
over so this is what the tracking is
doing for us and it's only going to mess
up like right at the end here we can see
it like sliding off the gauze pad so we
can go ahead and fix that a little bit
later let's do the same thing now with
the other side so we're going to do the
same thing as before we're going to
let's trim this layer on pre-compose it
we have a lot to beads click okay and
we're going to double click that layer
so we can start working inside it now we
can get rid of the gauze pad back and
the first thing we want to do is take
that same stained mat comp pull this
down but then we want to flip it so it's
the other way around so remember
anything you do inside the stained mat
comp will also change the front side
since this is the same comp but we can
do transforms and stuff on the outside
and add effects and things like that on
the outside like in this area here but
if we go inside and start making changes
it will affect both next what we're
going to want to do is grab this blood
this extra blood here I'll pull this in
now this is going to be the same basic
pattern
went to the arm wound gonna change the
blending mode to be multiplied the
darkens that down again and I'm gonna
grab the same fast box player that we
had before and paste that there now both
sides of the gauze pad can be slightly
different of course but we just need to
compare them so is the placement more or
less the same this one actually could go
up just a little bit so what we'll do on
this one
and select all these layers and then
just pull them up a little bit they
slide up further
we're covering a little bit more of it I
don't know look I'll look fine
now this is looking quite a bit too
saturated for my liking especially in
the back side we're going to go back to
the main comp and grab a hue and
saturation effect
will actually pull down the saturation
quite a bit something more around that I
think it's gonna look a little bit
better watch they put this fast box blur
underneath now the blurriness might be a
little bit much
turn that down a little bit on the front
side my tone down the blur a little bit
as well can always add like a camera
lens blur or something later that adds a
little bit more definition and again
I'll add a hue and saturation to the
front one just tone down the saturation
don't think more like something more
like that it's pretty good alright so
the next thing is let's figure out how
we can improve this tracking so at the
beginning the gauze pad back should not
even be visible until around let's say
frame from 98 is where you would see
just a little bit of it right there so
we can basically cut this comp so you
can either pull this over or you can do
alt left bracket trim it but then we
have to kind of force this back in line
this is kind of irritating to do but
what I recommend that you do is grab
another corner pin tool
grab a corner pin write this underneath
this is our master we can just call this
like a readjustment click enter
just so you can keep track of which is
which and then if you select this you'll
notice that you get I need to turn on my
lyric controls here all right so then
you need to zoom out and this is going
to be a little bit tricky to see but
you'll notice that this entire thing is
being rotated you select this layer and
you can get these corner pins but
basically what we have to do is just
pull these corner pins in
you can also use like a mesh warp but I
think this is the best way to do this
basically at the very beginning we only
need to see just a little bit
right here so you need to reposition
this so it lines up with that just do
your best
these few frames are tricky just do
something like that for now
don't keyframe all of these clicky so
you can see them close this at the
corner pin though and then just work
from here all right so then we'll go
forward let's say two frames then we'll
reset the effect
can I get two pushback and then this is
probably going to look okay and then we
only have one other frame to deal with
we need to keep this quite high
then we need to pull in the lower bound
I don't do something more like that and
the rest of this is going to be
rotoscoping actually we do notice a bit
of a slide here at 102 to 103
so that will also need to be adjusted
so what we can do
bed
that looks fine here we'll set keyframes
now begins to slide forward a bit there
and there that frame 104 it looks okay
so oldie we'll just pull this down a bit
here pull this down a bit
then on this very
last one we'll just pull these down
and that looks okay for right now right
we are going to need to run a scope
so what I recommend that you do grab a
new solid we'll just call this gauze pad
back rotor
go ahead and turn that layer off and
then we're going to want to rotoscoped
the thumb right here I don't think we'll
need this thumb for anything else so
this is why I can have a separate layer
I'm gonna be a little bit more
convenient to use does not have to be
super accurate click em then keyframe
the mask path and then we're just going
to go forward a couple frames pull this
up
and then this is no longer required
crack this over
for me I only need to go to 109 because
the stain doesn't really go into the
thumb if yours does go into the thumb
you will need to rotoscope more so it
might be prudent just to reduce the
amount of stain on your gauze pad to
reduce the amount of roto but if you
really need a lot more just protis cup
the thumb
okay so this is probably going to be
fine what we can do it's now on the
gauze pad back we can say alpha inverted
so they don't cut out part of the thumb
there you will want to feather this
and we probably want to take the mask
expansion and just pull this in by a few
pixels and with motion blur on when we
will add motion blur take gauze pad back
and you can also do this on gauze pad
front you do want to enable motion blur
this is gonna change the placement just
a tad just make sure you rotoscoping
lines up with that you are getting a
little bit of an edge right there right
there
I think that will look okay for right
now next part is though I'm gonna lock
this mask there to hide it I'm gonna
actually turn off the gauze pad back
layer with this next part we need to run
about this part of the gauze because
this is side of the gauze pad should not
see anything on this area here pull this
in something like that you might need to
go higher up on yours it just depends on
where yours is placed but I think this
won't be good for me we only have to do
this for about three frames this parts a
little tricky to see just kind of guess
and you should be good yes a fourth
frame will be necessary write that in
something like that and then at frame
102 this can just be dragged out to the
void and at frame from 97 doesn't really
matter if I like I like to to keep
unused masks on the side okay you turn
on the layer again and then just play
around with the feathering so I think
this is this might be seen a little bit
more on this edge here we also might
want to pull this back a little bit so
it's not quite so close and it looks
like it's sliding a bit some a lot to go
back and address that later I think
we're getting the angle a little bit
wrong for the perspective also you can
see the corner pin right here slides up
we need to fix that
this part is really tedious and there
are several different techniques that
you could use for this this is just how
I approach the problem but as I said
there are a few things that you could do
we are also gonna have to rotoscope this
the top of this gauze pad as well we
could also use the rota we've already
done but since it's only for a couple
frames they will be easier just to stick
with what we've got this will work for
now we're gonna have to go back and it's
kind of tweaked out a little bit later
so if you're running out of time and
trying to send this in for like a review
or something small errors like this are
gonna be okay most of the time unless
it's supposed to be final but most of
the time roto is like one of the last
things that gets you know officially
complete or a lot of shots especially if
you're doing everything you have like a
dedicated roto artist might be a bit
different but quite often though
everyone's working on the shot until the
last minute anyway
and roto stuff you can play around with
it for days sometimes okay we'll just do
something like that
I'm gonna lock mask to get rid of that
turning this one on
and one more frame right there too so we
don't get any dart splotch I think this
actually should be a bit darker but yeah
it looks like it's slipping a little bit
too much there you can play around with
this forever we do a value of about five
for the feathering
we're getting still a bit more of that
edge crease the expansion just a bit
there yeah looks a bit better okay
that's gonna kind of wrap up this one
for now and next we can go on to the
front side because the front side has a
similar issue or just kind of begins to
slip off now for this we're gonna
actually turn off the track mat just so
we can get a better view of this and I'm
also going to turn off the blending mode
it's gonna look awful but we need to be
able to see more of it I'm gonna grab
the other corner pin also click enter
and just rename that one so it looks
good up to I think around from 90 let's
say it's good at 97 right now this is
key from these look like you but then
collapse the first corner pin and what
we need to do is just kind of force
these far corners into each other but
then we also have to kind of compress
the whole things we're gonna pull these
in hold these in we do want to keep the
height one less the same
I guess this also is rotated a bit off
corner pins are a little tricky to work
with that's alright they go to frame 100
and then we'll trim this a halt right
bracket and we'll just try to force this
in a little bit more but most of that's
gonna be rotoscoped out we just want
something to slither of red it's gone by
101 all right so I can take the Alpha
inverted track map back up and change
the blending mode back to multiply
all right so we're getting some toes
overlapping point from 98 99 and then
100 we need to just rub that out we
already have roto done but because we
really need this for three frames what
I'm gonna suggest is that we just do
another really quick wrote a job
directly on the fingers roto and now
that seems like a counterintuitive but
if we combine multiple roto layers we
have to pre-comp them and pre copying
anything that's gonna slow down
productivity in my opinion in After
Effects because you can't view the stuff
inside the pre-comp at the same time
without doing this funny layer setup
this isn't easier to work with if you
have everything in your main comp but I
would never recommend likely doing a
bunch of work but since it's only for oh
I like three frames hi I'm Alyssa so add
a new be mask to this
okay so let's pull this down pull this
here I'm going to turn this off so we
can see the edge a little bit better
then one more frame perfect and then we
can just drag this off to the side cool
turns on and then you can see it's being
chopped off there this is a really
really hard edge so we do want to
feather that by at least I would
actually say ten pixels
especially with the amount of blur
that's going on and I'll be okay now it
does look like it's sliding a bit
we might need to fix that also looks
like a bit of the blood is getting into
the fingers so we're going to need to go
back to the fingers roto and correct
some of these frames as well let's
definitely do that right now before we
move on so on these few frames think
I'll just be pulled up used to be just
pulled up very slightly
same thing they're very slightly pulled
these up and then right there there
really shouldn't be any blood there
shouldn't be any blood at all on the
fingertips there
this is tricky but we'll have to address
that later okay so that looks okay I
think it's slipping just on frame from
98 to 99 we can see that the whole
position shifts let's go back to you
gauze pad front
and then what we'll do is just push this
over a bit to take this point pull it up
don't forget use the page up page down
keys to go one frame at a time I've
mentioned that a lot in other videos so
definitely a good key to know all right
I think this looks all right so I'm
gonna save this and then just let's see
what we have
oops forgot to move my thumb mask there
to go back to the Chevrolet that was on
see
ah spat back road
and then we can do right there bring 110
drag this out and this will look a lot
better
okay let's see that one more time
there we go so there is definitely a
sliding that occurs right here on that
edge and the unfortunate way because
this is like slightly curved and what
we're projecting is flat that's not
really going to line up so we have to
use a mesh warp effect or we just have
to have nothing in this area but what I
would recommend is just kind of see
where is here I mean it does actually
stick out quite a bit
and one thing that I just realized I
told you guys to flip this horizontally
but really this part should be rotated
as well because this point here
is here but on ours its it's here so
let's let's go and fix that really fast
go into our gauze pad back
drag this comp over so we can see what
we're working with we're going to take
this stain comp and we are gonna have to
rotate this
and then we'll do like negative 90
we're not they compress this quite a bit
the begins to fit in where it was before
I believe I made that mistake
here again trying to match the position
like the hardest part of this is just
matching both angles because once you
can get the technical stuff out of the
way it's it's not terribly complex and
the other side doesn't have to match
exactly it just needs to look like it
was pretty close so the untrained eye it
would be like okay that that's fine like
this extra blood as well I'll pull this
further into the center
it also looks like our stains if it's
smaller now it's one thing after another
with this type of stuff isn't it pull
this back
I think that was that's gonna look okay
it looks like we might be missing a part
down here just from this extra kind of
splotchy area really should go down a
bit further I can just stretch this
layer out and it doesn't have to be
exact just to be pretty close okay Wow
can't believe I did that but there you
go so there you go you get to see me
making blenders anyway this will give
you at least an enough to be able to go
on to the next section which is actually
making the coolest part which is the
actual wound on the skin all right so
now we can start putting together some
textures for the wound on the arm so I
mentioned in the last video when you're
looking for references of wounds or gory
imagery if that makes you uneasy if you
search for fake wounds or prosthetic
wounds or movie makeup or something like
that at least so you know it's not real
we're actually not gonna be looking at
any of those though because they do look
quite real and I don't want this video
to be flagged but we will look at
instead are some images that I found
here and this is just a collection of
stuff that we could use for more of a
gory type of scene so let's start here
with some raw meat so you can this gives
you a lot of nice texture information
we're not really as concerned about the
color so even if we just make this
grayscale we can still get a lot of nice
detail here like all the little sinews
and stuff like that
that's really useful this is also this
is pomegranate and get some really nice
textures there very rough this is
plaster so plaster is actually really
good especially this one we turned the
color back on we could actually use this
coloring as well I quite like how it
goes from this is kind of deeper more
saturated red into a very very light
almost white red and use that as well
then we also have some vein maps so some
of these are quite easy to integrate so
some of these are just some squiggly
lines which is quite good some of them
are trees like this one is just tree
branches and this one is a city just
like some kind of I don't know a traffic
diagram or I don't really know what that
is but it's some kind of
map of some kind of city then we have
some fractal patterns that are quite
useful we can create some of these in
after-effects but having some images
that we can just drag in is quite useful
now here's my favorite part and this was
an idea I had for some visual effects
shot for West world for HBO I think the
shot actually got cut but it was some
kind of head wound where some guy's head
was like smashed open and it wanted to
meet quite gory so I was trying to find
some references and one thing I searched
for was crushed fruit this is like
strawberries and this is the image I
used for my example you can also do got
this kind of stuff by disgusting-looking
and my crushed raspberries and things
like that but these are really good
ideas to look for and they're pretty
safe images to the to Google but you can
make them look pretty disgusting I'm
gonna drag this window off here and
let's pull some of these into After
Effects alright so I grabbed a bunch of
different textures that we can start
using and any time you do this in After
Effects one idea is just make a new
folder and just call it textures and
then just grab all the textures and add
them to this folder and the first thing
that we're gonna do is just make a new
solid we're gonna call this like armed
infection or wound or whatever it is
that you're making as I said in the
previous video you don't need to make
something that is disgusting to make
this a cool visual effect shot but
that's what I'm going to be
demonstrating right now let's just put
this above this the plates right now and
then we're going to pre-comp this
and then everything that we do is going
to be inside this pre-comp so I'm going
to lock the current pump double-click
the arm wound comp drag this over to the
side we can work inside the arm
compliments see the results I can get
rid of this solid here and then I'm
going to start dragging in some textures
well let's actually start with this
plaster one so this is covering the
entire plate obviously that's not what I
want so I'm going to go back to the arm
wound I mean take a copy of the plates
ctrl C and then just go back to the arm
loom comp paste these in so what I did
in one of the previous videos is take
the copy of the plates and then just set
it to a guide layer so then we have a
reference inside this comp of where
everything is placed and then we can
still see the result of the side but
I'll just make our life a little bit
easier what we want to do at this point
is just reposition this we can leave the
scale where it is but what we want to do
is just kind of mask off a region that
we want to include so what I would
recommend when you're trying to
determine this remember that the
beginning the entire wound has to be
covered by two gauze pad another thing
is that you shouldn't make your effect
go all the way around the arm because if
you want to do that you're gonna either
need to map this in 3d like go into Maya
model an arm and actually put this
texture over the arm so you get that
realistic curvature or you're gonna have
these a mesh warp effect and mesh warp
and After Effects is one of the worst
effects in my opinion for controlling
it's very very difficult so we're just
going to grab a pen tool and then we're
just going to mask out an area around
the center of the arm then I'm going to
hold down the Alt key cover at this
point to a busy a point I'm not gonna
bother making a mat for this because
we're gonna have so many different
textures on here I don't want to have a
bunch of mattes that go with them
especially if I'm quite happy with this
texture I like this texture so I'm just
gonna leave it I'm gonna feather this
and then we're gonna need to go into the
mask expansion so just double click mask
one and then lower this down quite a bit
I'd do something more like that I'll be
good right now
instead of using a mat of just the road
oh I want to use a luminance map to kind
of break up this texture a little bit
let's go add a new solid and this is
actually going to be our base texture
just call that base texture mat
okay turn this off I'm going to rename
this texture as well
all right so then what we're going to do
we're going to grab a fractal noise
effect
then you know turn this layer ons as we
can see the pattern and there are lots
of different types of fractal noise
effects here ones I've used quite a lot
or like the dynamic one if I want
something to look kind of smoky or
cloudy I quite like this one now but you
could also make it look like there's
like pimples or bulges in the skin or
something like that we can use that type
of effect for that but for this all's I
want is to kind of break up the the
texture of that plaster and make it more
like stringy or or I think there's one
called strings now this one that's not
really what I want think maybe that
one's interesting just go through these
see what you like
swirly is quite interesting I think just
one idea this is one that kind of has
like that curly lines I have nice
fractal textures to them then we can go
open up the transform and the scale we
want to pull the scale down we get a lot
more of that texture
like we're gonna grab a curves effect
you can use the brightness and contrast
controls within the fractal noise but I
prefer to do it with the curves this
makes it a little bit more obvious that
you're using color correction and curves
is just a lot easier to control in my
opinion so I don't do something like
that then we're going to take this base
texture change the track map to a luma
inverted you can also do luma just
depends on what you're wanting here luma
inverted here is gonna allow this is a
bit more black so I want it to go in the
black areas so something like that but
what we've done is broken up that
texture so it's not quite so so harsh
I'll pull this down a little bit more
out a bit more contrast there and then
what you can do is go back to your base
texture and just play around with that
edge a little bit there and something
like that will be quite useful let's go
back to our base texture grab a curves
will change the red channel here pull up
the red channel just a little bit a bit
more saturated and then I'm gonna darken
down the values you can see that looks a
lot better now on the plate we'll pull
down the highlights as well next one
we're going to do we're going to grab
that crushed root texture
so this crushed root HD wrap this in
this is massive like s4 scale pull this
all the way down oops just want to set
this kind of towards the center and for
this we're going to grab a pen
and then we're just gonna just trace
around the red parts of this image it's
very rough it does not need to be
accurate at all we're trying to have
something that we can kind of blend off
and not just have a hard edge and I make
it a little bit more interesting you can
always use like roughing edges or
something but it's feather this up a bit
like that and then we're going to grab
another solid and use this for our matte
same thing we're going to grab a fractal
noise effect I quite like that smeary
texture but I'm going to leave the scale
higher on this one
then drop it curves again just crush
this in more like that
and then one can take crushed fruit and
then set it to you limit inverted then
we have some kind of interesting texture
here but if we want to preserve the
center and make that like a lot more
prominent what you can do on the crushed
fruit mat just go ahead and make kind of
a selection around the parts that you
want to keep
they may be like that and then change
the mask to be subtractive that we look
at this mat as it is we're just making
it empty so this is cut out so that mat
is not actually being used at this point
and then we want to feather this as well
so that kind of blends in so I think
that looks that looks quite interesting
so on this particular texture if we
double-click this fruit and just have a
look at the original texture we get a
lot of natural shading around parts of
the fruit here which is this is great
for us because now we already have some
depth in this invention we can make we
can use this to our advantage and if we
look on ours how we've integrated this
if we take this if we add a bit more of
that back in that kind of shading around
here kind of help us kind of integrate
this just a little bit better make it a
little bit darker around the edges here
but if you don't have something that has
natural shading in it you can just
create a new solid and then go and
manually add that back in yourself so we
can go into a new solid just call this
like shadows
and if we look at the plate the light
Direction is coming from either like
overhead but it's kind of more screen
right than screen left so our shadows
really need to be more on this side oh
this side is also good this is going to
make it look like it's deeper but we are
also going to want some shading on this
side as well so right here I'm just
gonna start making in some rough mask
positions here
something like that we'll turn this
their on and they will want to feather
this a lot to more like with that this
for now and then if we want this to be
made a little bit deeper we can do the
same thing around this edge as well
and now with just a few masks there
we've kind of made this centerpiece
stick out a little bit more and it makes
it look like there is more depth around
here now we obviously have quite a bit
of work to do on this so let's just
power forward and then go back to our
crushed fruit grab a curves and now what
I want to do is just I'm going to lift
all the shadows up a little bit we look
on the left-hand side
the shadows are really really dark so I
want to pull these up so they're not
quite as dark
but it looks a little bit lifted here
but it's gonna look much better
and here we'll go to the red channel and
I'm gonna just pull out some of the
highlights on the red kind of darken
that down and we can see how much of a
difference that makes here so another
problem I often see is red values are
way way too bright and saturated so you
want to have that looking a lot darker
go to the blue channel here and then was
going to add just a bit of blue into
this for the mid-tones so just some
color correction we've blended this in a
bit better now throughout this you might
see me just going back to certain areas
and just tweaking some of the effects
for example on this one I want to
feather this out a little bit more so it
kind of it's a little bit too sharp and
then we're just going to pull in the the
mask expansion just a bit to smooth out
that edge that looks fine
something like that's pretty cool
alright so go back to our main comp and
what I've just realized is I called this
main comp arm wound and the hen this is
arm wound comp so let's actually just
rename this one just to be wound and so
we can differentiate that a little bit
better and on top of this I'm gonna put
an effect that's going to kind of make
this entire effect look a little bit
more 3d I'm going to put a cc glass
effect on this comp so CCC glass is a
way that you can kind of add like
material properties to a layer and it
has like kind of a displacement type of
effect if we pull this on here kind of
makes everything look like it just
bulges from the edges and it makes it
not look as detailed as it was before
these highlights here Oh way too sharp
kind of blurs that out and it also gives
you like a very interesting looking
surface if we go into the bump map under
surface here you can choose to find a
different map for us since we want this
affect on the comp itself but it's gonna
leave that on the comp but you do have
the option to use another layer just to
add more detail to something and the
displacement here this is the amount if
you increase this quite a bit you can
get very very different looking effects
so it looks a bit odd but notice how the
light kind of wraps around it and it the
light is gonna make this look a little
bit more 3d now you can also go the
opposite way and this is another really
cool effect as well if you have negative
displacement it kind of makes it look
like there's now holes in the skin so
this is a really really cool one kind of
looks like it's like muscle or something
but the idea of this was to make some
kind of like alien looking type of it
infection not something super realistic
and this kind of has a very eerie alien
vibe to it
let's go into the light tab and there's
different types of lights that you can
add you like you can add a terrific
slides here and then you can control
this effect with After Effects lights
you change it to that you change the
light color as well if you wanted the
highlights to be less red and that's how
you want to do your color correction you
can just do it with the light color
something more like that or you can do
something very very weird so they're
kind of like bluish color actually kind
of like that you can color correct this
to do more or less the same thing but
that's quite cool it just depends on
what you want to do
and also control the height of the light
though as you increase this is gonna get
brighter as you lower the height it's a
bit darker so I think I remember what
that was that but let's just do a valley
of around like 50 or something and also
open up shading and since this is
considered more of a 3d type of effect
you get a lot of shading information as
well so we have things like your
specularity ambient so you can like pull
this up one to be brighter diffuse so
for hours these aren't really going to
do an awful lot but you can play around
with them if you want
also there's I forgot to mention there's
the light direction so if you want to
change the light source direction you
can just pull this around and will
change I think for us we'll do something
like let's see I want to kind of coming
in at this angle so maybe like 25
I think if I pull this up it will
a little easier to see how this is being
manipulated
and then this plays into the height the
height as well be lower the height
it kind of spinning around there may be
a value of around 60s good
and the height will do something like at
the back 250 and I will actually change
this light color back to where it was
you like that looks a little bit better
so now we're getting some pretty
interesting looking result here
and I don't need to see two of these
because we're working in the main comp
as it is so at this point we probably
want to start integrating the roto so
for the gauze pad roto you can just drag
this there right on top of the wound and
change the wound comp track math to be
alpha inverted and that's going to cut
that off and we can see how this is
going to actually hide it we need to
kind of feather that edge a little bit
now we also need to extend this out a
bit more it's going to be lots of
technical fixes that we see throughout
this
I get to do it wound and I want to kind
of expand this area out a little bit
more I'm gonna grab another solid I'll
put this underneath the shadows layer
just a ring
basically what its gonna be change our
masks to an ellipse and drag out an
ellipse hold down the control key and
Shift key to make this more circular
practice there I will just kind of make
some curvy edges here's move these busy
ape handles so it's not perfectly
circular put that there
now what I want to do and for this I
want to duplicate mask one and then mask
- I'm gonna set it to be subtracted what
you can do now is open these up and if
you increase the feathering of mask one
kind of get that ring like an edge that
goes out and we can do the same thing on
mask two as well kind of makes it look
like it's a bit more built up I'll
actually pull these edges in bit more
you know it's similar to the shadow that
we just did on the base texture I will
just pull this out a little bit more on
this side and expand that out think I'm
also also just going to reduce the
feathering and then reduce or increase
some of the expansion like then go out
this is a little bit more
these shadows are getting a little bit
dark so let's go back up to the shadows
layer and I'm just going to click T and
just lower the global opacity
that I'm just going to increase the
displacement a bit more on this effect
as well
so now what we need is something to kind
of bridge the gap between this kind of
base texture and the center right here
there's some other type of texture that
we can might even consider adding some
like little vein areas but we just need
something to kind of go around the
perimeter of this well take this
pomegranate texture back to our arm
wound comp
I'll just grab a pen tool and I just
wanna mask in an area around here where
that texture can be visible and then
I'll take another one and just go around
this center part so this is where that
texture really can't show up does not
have to be super accurate or anything we
do want to make sure that doesn't blend
in too much with the center of this in
the center this mask too will be set to
subtract
and then the pomegranate textures is
going in between here now for right now
don't look at the color because the
color is not working out at all you can
go to the masks and then just feather
both of these
and then to blend in this let's go into
our math too and we'll just feather that
we actually don't want to feather this
too much and like ten pixels that should
be adequate now the colors are
completely wrong so we all want to grab
a curves effect and we also only want a
human saturation because I think this is
a bit too saturated a first we'll just
knock down the saturation and then we'll
go to the blue channel we'll add in a
bit more blue
we could go into the red channel and
just actually I think I think it looks
pretty good
you could go completely the opposite
actually and just lower the red and that
actually makes it look a little bit more
bruised something like that looks pretty
cool now this area is now not really
that's it's too homogenous so we're
going to do the same thing that we did
in the previous one add any solid and
we'll make a new luma matte with a
pomegranate texture have a fractal noise
effect and for this one I do want the
scale to be a lot smaller I think I'd
open up transform and crush that down a
little bit and then I just need to keep
that start playing around with this so
we'll set the it doesn't matter if it's
luma or inverted here
kind of say you have this gives you kind
of a cool effect as well if you were
just to use a gnat and would think it's
EC glass on the side come back to that
smirre t1 subscales pretty interesting I
think this is going to be too thick
holds us down
you
they're playing around with these bunny
modes but yet very interesting-looking
kind of it makes it look like these are
cuts into the skin like deeper deeper
like crevices almost
around with us to come up with something
that you like could also add a vector
blur to this
you
got some more like veiny looking areas
go back to the pomegranate texture here
and then just darken this down very
slightly
okay we can feather this bass texture
out just a bit more
because I don't want we're getting too
many like white areas here pulling the
mass expansion and this actually this
looks like pretty good bruising because
we have the different variations of
color well looks pretty good but I do
want to increase that just a little bit
so we get the kind of those wider area
so you want it to make it look like the
skin is actually inflamed or just being
roughed up a little bit it's the center
that's getting the brunt of it and it
kind of like radiates out
and I think one thing I want to change
here think I might actually just want to
replace like reposition this texture
just a little bit because we had this
mask on the texture if we just move the
entire layer the mask move moves with it
if we click Y or the track behind tool
we can just reposition the texture and
then we can find something that just
fits in just a little bit better just
play around with the overall position
and we might just get an area that we
just like a little bit better now that
actually looks pretty cool there
I'm now deviating quite a bit from what
I had before but kind of like that
texture so you could play around with
this literally all day and get new
interesting kind of results but I think
what we need to do now is start adding
some veins to this and then we can start
integrating this a little bit better so
let's go over to the arm wound now and I
think it is time that we start seeing
how this looks with some defocus to
camera lens blur
let's try value for around two and keep
in mind if you were looking at like very
very fine detail and you really liked it
just remember you need to see what it
looks like when everything is defocused
because that if the focus does need to
match and I think that actually looks
pretty good and that's a pretty good
amount of ghee focus now we are getting
like some macro detail here these larger
areas which we need to make sure we have
so Alex good pretty pleased with that
looks pretty cool now let's actually
start adding some veins to this so some
of these veins can animate and the idea
of this you want to make it look
visually interesting so you want to make
sure that you have you have some kind of
animation or some kind of progression
going on it can't just be static or just
like lightly undulating you want to kind
of move in frame veins are a really good
way to do that so I'm gonna add this
marble texture specifically like round
here I really like that texture I'm
gonna actually invert this and then
change the contrast hold down the
brights
darker veins up there
don't forget about the shift+ - keys for
cycling through blending modes and after
effects it's very very useful so you
don't have to keep clicking the blending
modes button you get something pretty
interesting let's here this one would be
pretty cool if you wanted it to make it
look like there was a light underneath
the surface
oh this is more like what I'm looking
for some kind of overlay looking you
might even do soft light think overlay
it's gonna be better for this specific
one now keep in mind I do actually have
to put this texture outside of the comp
so it actually blends with the skin by
or to copy this let me turn this off put
this inside the wound comp and just
paste it here you can see inside this
comp it looks great remember in the
actual composition this arm wound is
just a guide layer that really is
looking like this and because this is a
pre comp the blending mode by default is
normal and if you change the blending
mode you're in fact changing the
blending mode of everything inside it so
it's really you want to leave this on
normal you can also sometimes you can
click this collapse transform this
button to kind of preserve some blending
modes but it doesn't really work for
everything so let me just undo that and
we're going to go back to just having
veins outside here
and I'm gonna get rid of this Maine
Maine black bein there don't really want
to include that
for this underneath the wound so these
veins can look like the kind of
radiating out from it
then I want to further this out a bit
more
if you wanted to make it look like this
see the veins are going like deeper into
the skin you definitely need to have
quite a bit of feathering and it we're
not really using an awful lot of that
texture or just it's just adding a
little bit extra detail so we could have
a few of these
we have a couple of these nodes do the
same treatment on both
you
to get rid of these sharp edges on
making two additional masks and I'm
going to subtract them
you
so this is looking pretty interesting
now a lot of this is just tweaking
constantly a bunch of times until you
get something that you're you're happy
with I think I actually I'm gonna just
add a bit of red into these as well but
the more components that you have the
cooler the visual effects shots going to
look and the more things you have to
animate so it's going to make it look a
little bit more look a little bit cooler
so I will imagine this to be kind of
like the end result of these but the
very beginning when we first see it
we're not gonna see quite as much at
this wound that this part can be quite
built up we could expand the edges very
slightly we can also have these kind of
grow out and that would be pretty cool
so there's several different techniques
that we can use to kind of grow veins
now if you just want like little tiny
veins like this to kind of just follow
like a general mask it's very easy to do
but if you want larger veins are
following a very specific route a little
bit more complicated but before we
actually do any more work here we're
going to need to track this to the arm
I'm going to take all of these layers
and just attach them to the wound comp
and then I'm going to attach the wound
comp you can do this either with the
pick whip or the parent link menu we're
gonna add all of these two skin track so
skin track is what's going to allow this
to move with the skin you can see it's
moving with the skin now it does move
off to the side very slightly as the
hand comes over so we'll need to address
that let's just take a copy at the gauze
pad roto and we're to paste it above
each one of these take these textures
and set them to alpha inverted
fix some of this roto here I thought I'd
finished all that but I guess I left out
a little bit we're gonna have to go back
and add more into that in a bit we're
also going to want to add a camera lens
blur to all of these elements as well
through a value of two copy that layer
and then just paste it on these and it
blends in little better so these veins
here are going to be underneath the skin
we want some larger ones are on top of
the skin and for that I'm going to use
this urban flow map I'll put this on top
here drag this off to the side and just
rotate this
we need to extract out the white part
here so we can either use a luma key or
we can just use an extract effect
let's just get rid of all this white
we're gonna be blurring this and we'll
be adding some other effects on it so
it's not going to look quite as bad
you
said this to be subtracted and this
fine for right now I think I will
actually feather this then just feather
it just a little bit
into the skin
all right so to make this not look quite
so harsh but added a fractal noise
effect this is going to fill in just
inside the veins
we'll make the scale of that smaller
actually quite a bit smaller like 20 and
one cool thing that you can do to make
it look like the vanes are actually kind
of like pumping like blood or some kind
of like liquid through you can just
animate the offset so this is basically
how I got it to make it look like it was
kind of pushing out some liquid
so because the veins on the left side
have to be going one way we will have to
cut out this section so we're not
actually going to see any of this after
all what we can do though is just
animate it and then flip it then flip
the mask if we need to
so what we can do take this off set
search turbulence and just like place a
position kind of here and then we can
animate this probably can do this maybe
from around frame 80 keyframe it and go
forward until the very end and then just
move this over so this will kind of
dictate our speed
don't think kind of like that now we
will have to trim this part off so we
can just grab another mass and we can
just take a very large section of this
off
subtract this we don't really need to
worry about feathering this one I think
we're not actually going to use this
part anyway
so that's the main flow of the particles
going through it and what we really want
is to animate the entire veins coming
out so we'll do a right on effect okay
so we call this map veins left and then
we'll make a solid for this call this
veins lipped mat and on this one we want
the right on effect and then change the
paint stuff style to on transparent
change the brush position moving around
there and then we can increase the brush
size up quite a bit so you can see it
and then you want to make sure that you
have your brush time property set to
size and hardness and then we'll go to
frame 80 again actually we could start
it depends how much you want this to
have revealed by this time and then it
will do brush position key from that and
then we'll go forward to frame hundred
and ten and then just drag this out now
the more accurate that you want this to
be the more precise you'll have to be
with your keyframes and the position but
you can do a pretty rough job just by
making your brush size large enough to
encompass the entire vein
and right now I'm just arbitrarily doing
this every 20 frames
basically we just had this line
following it this will end up being an
alpha mat for the layer underneath all
right here I'll pull this up a bit more
reposition this this is kind of like the
growing vines video that i have dry
released several months ago it's
basically the same idea I think we might
want to take all these keyframes and
just scale them out so select them all
hold down alt and you can just drag
these out so I'm going to go towards the
end of the shot
now you can't have multiple write on
effects that use on transparent so what
we're going to do is to say original
image so just turn this one off and grab
a new one and we're just using on
transparent just so we can see what
we're doing but we'll need to set those
two on original image in a moment let's
write that up have that start there
remember to change the brush time
properties to size and hardness and
keyframe brush position
try to make your distance pretty
consistent as you space your keyframes
so if you space your keyframes pretty
equidistantly trying to do the the
spacing the same as well that moves
about the same amount and we could have
that go down as well with another write
on effect the more write on effects you
have the more time-consuming it is but
it does make it look more intricate and
more interesting
I'll just start this one down here
to frame 130 this can begin coming off
you
so at this point I want to make the
brush size a bit smaller so I'll come
forward change the brush size here
then I'll lower that
adding in too many of these veins as
well okay cool
all these on and then change the mode
with the style here to be on original
image and then you can have as many
write on effects as you want
change vanes left here to use that as a
luma map and then that's basically how
you can get your veins to pick them out
and it makes it look like there's liquid
inside there as well moving forward all
right let's do some color correction to
the veins
we'll also switch that to an overlay
blending mode
so we're going to need a couple copies
of both of these layers so we're going
to pre-comp this one I'll move all
attributes so if we need to change the
mat at all we don't have to change it
several times
all right so we'll grab a drop shadow
effect
this is going to make it look like it is
casting a shadow just on one side and
you can increase the softness of the
shadow as well though the further that
shadow is away from the object the
thicker is going to look we're also
going to want to add a camera lens blur
to this
we'll just do a value I think Ashley for
this since it already looks pretty out
of focus all right now we'll do a value
of one
all right so what I'd like to do now is
use another CC class effect to kind of
give this some height today it's going
to reshape it and it's going to make it
look like it's more like flowing on the
surface so for that we're going to take
both of these veins and then we're going
to pre compose these together move all
attributes and then for this we'll just
reset that back to overlay and grab a
new adjustment layer
let's call this veins Leptis place and
then grab a CC glass effect
going to affect everything beneath it
that we get the effect on everything
instead what we want to use for the bump
map we just want to use the veins left
comp and then for the property we want
to use alpha
we'll say FX masks pull down the
softness quite a bit kind of see what
that's doing we pull that down to one
hide down as well so on the softness
here we'll just do something like
I can actually be pretty soft ten or so
something around that it looks pretty
good but this makes it this looks like
it's risen off the surface and also
change the light direction again willing
to grab our veins left comp and we
probably just want to blur this a little
bit more specifically on this edge so
I'll double click the vein slip comp
drag our other comp window open here I'm
actually going to take this camera lens
blur effect and I'm going to take this
off and I'm going to paste this on the
outside because at the end we'll
probably want to adjust those without
having to go inside all these comps
instead inside I'll add a fast box blur
this after the drop shadow doing like a
value of maybe even just points five
would be enough just to soften that edge
and then on the veins left comp we can
just do some extra color correction
before the camera lens blur
and darken down those veins a bit
and I think they're also a little bit
saturated and grab a hue/saturation
the saturation and then assists a case
of playing around with the veins
displacement
you
something that would probably work
pretty well
and then one last thing I'm gonna make a
duplicate of this vanes comp rename this
to be a shadow and get rid of our hue
and saturation get rid of the curves we
can actually just get rid of all the
effects and then change the bunny mode
back to normal instead of what we want
to do is grab a bass box blur and
actually we might need that curves you
only really care about the dark value
cells crush that down of it and
basically all we want to do here is is
blur this we get kind of like a platform
for this to to rest on
and the next thing is I want to go back
to the veins left display Slayer and
just play around with the surface
attributes I'm trying to get something
that allows the highlight to be a little
bit more prominent and the sharper the
highlight be more this will look like
it's actually raised up on the skin
because right now is this kind of
blending in
higher displacement value is going to be
a little bit better
all right so this is what we have so far
and this is looking all right there's
some areas I think I might want to just
like sharp enough it might be a little
bit too thick in places so if you did
want to make everything just a little
bit thinner and then that you could
consider is going into your veins comp
you can go to your urban flow map here
you could add a simple choker to it so
you would add the simple choker right
after you do your extract and by choking
this in just a little bit like a value
of 0.5 or make it a bit thinner now you
might lose some of this detail in the
center but it will tighten up the veins
depends how thick you want them to go
pretty happy with this all right so what
we can do now there's a couple things
the inside like these little particles
inside are getting a little bit too dark
for my liking you would change that by
going into your Bourbon flow map and on
this fractal noise so if I the solo this
on this fractal noise the brightness you
could just boost the brightness and by
boosting the brightness basically you're
going to make the entire vein like a bit
brighter so we might have to go back now
into veins left comp and then we might
just have to darken that down a little
bit maybe get rid of that
well some of the bright areas down to
tad you can again play around with this
forever but that's how you would control
that the very last thing I wanted to do
before I do the same thing on the other
side I want to play around with these
smaller veins we could get this to to
animate outwards as well really easily
because we're already using roto for the
gauze pad all I'm going to do is just
select this layer and I'm going to grab
a rectangular mask I'm just going to do
something pretty simple drag this over
and because we already have several
masks on here I'm going to rename this
mass to be expansion let's click enter
and then you can reach you can type in
the name but we're going to change the
type to intersect so intersect allows
you to use different blending modes
above like we have lots of ADD and we
have an add mask and then several
subtracted masks the intersect is going
to show you kind of in the middle and
all we're going to do is it's very
simple and take this mask I'm going to
start here and then let's go to frame
start this at frame 100 got a keyframe
the mask path
and then by the end here by let's say
190
and I've gone out in the full length we
will need to feather that or we can just
use it rough and edges
roughing edges before the camera lens
blur and we want to increase the border
quite a bit let's solo this layer so we
can see exactly what it's doing I want
to turn the sharpness down
and in the scale we can actually
increase the scale quite a bit
naturally let's go ahead
or that border
you
but a simple time expression
evolution
that expands kind of like that and then
we'll probably want to do here pull this
out quite a lot so that border isn't
going to get in the way on some of this
you
and then we get the e veins to kind of
all up here like that
we could slow this down a little bit
just reposition these so this ganache
they go all the way to the end and this
maybe not might not start until these
veins these larger veins have come out a
little bit more
maybe these can have a little bit of the
lead
turn these off dudes like an easy ease
Eponine 9 alright so right now we
guessed something like this thing this
is gonna look pretty cool so you would
have to do the same thing on the other
side as well I'm not gonna show it in
the video but I will go ahead and just
work on that so we can see how the
overall thing is looking alright so I
finished up the right hand side of the
veins in terms of the animation and
adding in the CC glass of the main veins
I also added a hand to the gauze pad
roto just kind of a rough area just
because I forgot about that so now the
roto is a lot better than it was before
so this is what we've got so far
anyway what we have here though is a lot
of copies of this gauze pad roto mat
what I want to do is select all these
gauze pad rotos and I just want to
change the color of them so it's a
little bit easier to pick out the the
elements and and then the roto so if we
just click on the side here wouldn't the
color swatches we could make all the
roto just like dark green for the roto
so it's easier to pick out the rest so
make sure you have this gauze pad roto
comp make sure that you put it above
every single element alright so in terms
of the overall brightness of this I
think we're losing some highlights that
would really play it to our advantage
I'm gonna go back to the wound comp and
then I am going to change that light
color to a much brighter value still
maintaining a little bit about that
green tint but I need the highlights to
be brighter so some other tweaks that we
can do if we look at the coloration of
this main effect I'm gonna grab a curves
gonna add just a bit more contrast to
this very slightly another thing is if
we look at the gauze pad here is looking
very flat in terms of this the color
there's no differentiation in color so
what you need to do is go into the gauze
pad back and then we need to add to some
kind of different color in the center
look for that we could bring in this
crush fruit thing here see where it's
kind of like yellowy here I'm just going
to grab a new solid kind of use the same
technique that we used before on that
base texture
and even just doing something as simple
as that kind of adds a little bit more
color into this I'm going to grab a pen
tool it's kind of mask in this area
to feather it
alternatively you can just play around
with blending modes
and even something as simple as adding
this adds a little bit more texture
detail here so this is looking pretty
flat without it and then adding that
back in just adds a bit more depth now
there's a million things that you could
do with this
I kind of liked where it was before
actually that's a pretty interesting
looking effect as well right there but
that's what we could do we could
duplicate this again and on one of these
it could be normal if we just take out
that center part yeah I quite like that
think that looks a little bit more
interesting I'll just lower the opacity
of the other stuff to make it not quite
as dark a couple more things that we can
do to make this a little bit more
interesting in the center on this wound
comp here what we could do we could
animate the displacement so it makes it
look like these parts inside or either
undulating or growing in size we could
also make it look like that kind of
breathing in and out which I think would
be pretty cool
so let's actually let's do that let's go
to all-around frame 90 keyframe of
position there and then let's say it 110
it goes up to 100 or maybe let's go like
150
125 something around there and then it
can go back down to about 70 we can just
copy these keyframes here paste these in
think we're actually gonna take all
these keyframes though and it just ease
them alright so right now what we have
is just like undulation kind of
breathing in it Britany out it's kind of
subtle nothing it will be enough to kind
of give that effect so one of the things
we can do on this the centerpiece is add
a turbulent displacement effect so let's
go inside our comp drag this over and
this needs to go just on this inner
layer get down to crushed fruit
rabitor me at this place effect hold
down alt click on the stopwatch for
evolution
at a time expression we'll do a size
maybe around 50 we're actually you need
to keep an eye on the left-hand side
here because this one also has a CC
glass so we can see how that's
undulating now let's see how this looks
in the main comp
all right so we've got some undulation
here and I think this is gonna look
pretty good I'm gonna go into the wound
comp you go into the green Channel it's
add just a tiny amount of green
a bit of green here on the skin whoa
just kind of add that in do the same
thing with the Bane's but there's a lot
of little minor adjustments that we can
make overall though this is a little bit
smaller than the example that I had so
if you wanted to just scale this up you
would want to go into all the comps and
scale it up in the comps and then
everything would be fine but then you'd
have to go ahead and then reposition all
the veins but I think for this I think
it's okay just to demonstrate the idea
it's a little bit different than the one
I had I think be the biggest thing is
the veins are a little bit sharp when to
go into the veins displace layers and
they add just a bit of softness to the
CC glass on the veins there to you a
soften up the highlight
alright so in the next video we're going
to wrap up this effect and we're going
to kind of point out areas that we need
a little bit extra work and then after
that I'm going to do a supplemental
video which is just going to be in Maya
exploring some paint effects if you'd
like to add a 3d aspect to this piece so
we're pretty much done with all the cool
effects and now I just need to address
some things that need to be corrected so
let's take a look at what we have so far
all right so what we've got so far would
be good enough really to send for a
review for a client if the see if this
is something that they would be
interested in but there are quite a few
tech fixes that would have to be made
here probably the most time-consuming
one is going to be fixing the roto of
the fingers over the gauze pad on on the
front side of the gauze pad here it's
fairly close but you can see if I de
scrub they kind of wobble a little bit
so more time needs to be spent fixing
the roto here I'm not going to show how
to do that it's just trial and error and
trying to figure it out a good boundary
for your feathering there are some other
techniques that you could use such as
keying out the gauze pad but I'm not
really going to show that here I think
mine is pretty close
just go back into the fingers roto and
finesse these masks so they're not
jittering but that's something that
we're not really going to go over it
will just be too time-consuming to do
for a tutorial like this so as we flip
over the gauze pad here
you can see that there's some kind of
weird parallax issue with the gauze pad
where the gauze pad
stain doesn't track perfectly well
especially right here we can see how
that kind of moves up a little bit so
for this type of thing you'd want to use
either a corner pin or a mesh warp tool
it's most prominent right here at around
frame 125 124 or something around there
so what we could do for that on the
gauze pad back comp
you'd grab a mesh wore perfect now I
would put all your transforms and
tracking effects above your color
correction so the way this effect works
you basically just keyframe the
distortion mesh I'm going to click II or
FX and then just open up the mesh warp
effect here so the way this works you
have to go just a few frames at a time
so we can see how that's sliding up we
can take this point I start pulling this
down
it's just the full resolution so we can
see that a little bit more clearly do
the same thing with this point up here
start pushing this down now the mesh
warp tool is one of the hardest tools to
manipulate in my opinion it's very very
tedious but it's something that would be
necessary to do in this case
a corner pin potentially could work as
well but I think the mesh warp is
actually going to be easier since you
can just control sections of the image
at once instead of the entire thing we
want to pull down this corner as well
and then it's just a case isn't going
frame-by-frame and checking for movement
we can start back at frame 124 and just
step through so right here this is
pretty good and then at frame 129
we see this part kind of emerge that's
kind of a I think that's playing in with
the fact that this is multiplied as to
what I would recommend in this case
going into that gauze pad front layer
grabbing pen tool and then just masking
out a little bit more of this area
we'll set that to be a
active met and then will still keep in
some of that edge we will feather it and
we'll see what this looks like
and now we're no longer getting that
kind of creeping shadow area which is
going to look a little bit better so
again this is something else is
extremely tedious to do but it is
necessary
you could spend several hours fixing the
track on both the roto and the gauze pad
as it flips over
so I've done just a few frames but you
would have to extend this all the way to
around frame 140 maybe 150 something I'm
not really going to show in the video
it's something that you just need to
look at and every effect is gonna be
different so depending on how large your
texture is you might not even notice you
just want to prevent it you want to keep
pushing it over to the left-hand side so
it doesn't creep over to the right as
the gauze pad is being turned this is
something you're just gonna have to work
on by yourself so for this next part is
an issue that's caused by the actual
plate itself so I'm just going to turn
on my color correction and the plate
it'll be a little bit easier to see
us how the plate gets much brighter and
darker here this is actually in the
plate so the camera is a lot brighter
here and probably because this gets so
bright it's trying to auto expose itself
and then it goes darker again if we turn
our effects back on here all of the
vanes are overlaid so they are fine we
don't have to do anything to that but on
the wound in order to match the wound
comp with the plate we're gonna actually
have to animate a curves to match that
light change let's go ahead at a curves
well we don't even see it until around
495 ish yeah so at frame 90 for keyframe
the curves effect and then it looks like
it goes to around frame 115 and actually
I need to keyframe this just add a
manual keyframe here and then we need to
go back because at the beginning it's
actually supposed to be a bit brighter
and to match the brightness I'm just
going to pull up the black values just a
little bit there and then we'll go and
see what that looks like as we animate
it so now this is looking a little bit
brighter and then a little bit later on
it begins to get a little bit brighter
again it's about around frame 123 it
starts to get a little brighter again so
we'll keyframe this manual key from
there and then we'll go it to the point
where it is the brightest which it looks
like it kind of levels off at around 135
and then we'll just pull this up very
slightly and I'm actually going to take
all these and just ease them
so now we've kind of matched the light a
little bit better between 105 and 135
mostly in the shadows but it looks a
little bit better integrated now now
within this same range here we also
notice that if you look at the skin or
if you look at the hair on my arm here
it's pretty sharp where it's a little
out of focus but it is still pretty
sharp there let's go all the way down to
like 118 116 this is very blurry and
then it comes back up by around 135
again so we also need to animate that
now because we already have a camera
lens blur on here I want to leave this
one it's just basically a static camera
lens blur so let's go ahead and add a
second camera lens blur and we'll just
animate this one so it starts off here
at 0 at 135 we'll just do this backwards
and it looks like it around frame 101 or
102 this begins to kind of lose focus so
we'll set another keyframe and then
around 116 it gets pretty blurry so
let's increase that blur to around 2 or
actually we could even go go a bit more
with that we could double that go to 4
it's actually pretty pretty blurry b3
when in doubt add a little bit more tea
focus
all right so now what we can do we can
take a copy of this camera lens blur and
we need to paste it on all the other
effects with some caveats so first of
all let's actually just go down and
start on the marble textures here when
you paste an effect with keyframes and
after effects you need to make sure that
you're on the starting frame of those
keyframes so we're starting at 101 so we
need to be at frame 101 when we paste
the effect but if you're pasting an
effect that currently exists it will
just overwrite that effect so if I just
pasted this right here it overrides the
existing camera lens blur which I don't
want to do so in this case I'm going to
grab a second camera lens blur I'll just
put this on top and then I'll paste it
so you have to do that for each one
we've already done that for the wound
comp there do it for the shadow comp
here do it for the veins left comp
I'm gonna skip over that displacement
layer for a moment
or have a new effect this one pasted
that in because these veins right and
veins left displacement adjustment
layers are adjustment layers they are
affecting everything so this CC glass is
actually affecting the entire plate so
if we were just to simply put a camera
lens blur on underneath here we'd end up
blurring the entire plate which is not
what we want so we're going to take a
copy of the veins right comp and the
gauze pad roto duplicate these and we're
going to place these above the veins
right displace and it's matte and we're
going to pre compose this and just call
this exactly what it is
veins right Matt 4d focus and click okay
so of this make sure that the Alpha is
free yep okay next we can grab
underneath this layer and adjustment
layer
and then this veins right defocus
is gonna have an alpha track Matt and
I'm gonna grab a copy of that camera
lens blur go to my veins right D focus
and paste that in so then at frame 116
if we toggle this on and off it's now
receiving blur it's very subtle but if
you zoom in this is not as sharp
if everything else was getting more
blurred and that wasn't you would notice
all right so we have to do the same
thing on the left hand side I'll speed
this up now
you
and now we have the same effect on this
one as well
okay it's pretty subtle that sounds like
a lot of work and we are getting a lot
of comps here so it just is the way the
app FX works I'm afraid there are ways
to mitigate that with set mat effects
and things like that and a lot of
expressions but I don't want to go too
far into doing expressions in this one
anyway so we are now reaching a point
where we're pretty much done with this
in terms of you know the main thing that
we're going forward there are going to
be as I said a lot of tech fixes but
there's another main effect that we can
add to this just to help us blend in a
little bit better all right so let's go
down to the wound comp I think this is
going to be the easiest one to to do
this on add some grain to the wound comp
here so you always want to do your grain
on the last type of effect even after a
camera lens blur if you blur a grain
you're defeating the purpose obviously
and grain effects are quite intensive to
do so I would only recommend doing this
at the end and you're gonna have to do
this on a effect by effect basis here if
you try to do it on everything you'll
end up covering the plate again which
obviously is is not what you want to do
so with mash grain if you are not done
with your project or you're trying to
work on it and it's been slow just turn
it off and then come back and rename a
little ater so anyway make sure this is
at the final output and then the noise
source layer is going to be at the plate
now let's zoom in here
and this is gonna be a bit more clear if
I solo my comp and this is oom in green
is especially noticeable in shadowed
areas so what this effect is doing is
just sampling random points on the plate
and trying to copy the same amount of
grain or or kind of pixel Distortion
because this plate is not the greatest
quality to by adding match grain effects
to all of your main components it's
really gonna help make a difference
so you wouldn't need to do it for things
that are overlaid because you're already
gonna get quite a bit of grain in there
if you realize that certain effects
aren't picking up enough grain and of
course you can go ahead and do that but
for this I'm only gonna do it on the
ones that don't have a blending mode and
aren't covered by other effects like
this comp shadow here is covered by like
veins left comp put one on the veins
left comp and I'll do the same thing on
the veins right comp as well
a very subtle effect but I think you
will you will notice also I'm not going
to bother with the smaller veins ones
because they are overlaid so they're
probably picking up some of the grain
some of these larger elements like this
gauze pad stain gauze pad back by adding
a little bit of grain in there it's
gonna probably just help integrate it
very slightly it's very subtle it's more
noticeable when it's in motion and you
could do the same thing here as well if
you wanted to I don't think it's gonna
be necessary here it's mostly for things
that kind of really stand out like that
arm wound and adding the match grind
effect is actually going to slow down
your render quite a bit alright guys so
I think I've covered everything I really
intended to on this tutorial and
actually I think I've done a bit more
than what I originally thought I was
going to go over but so this shot isn't
technically done that there's a lot of
work that has to be done in the tech
fixes like softening these edges on the
road Oh making sure that there's no kind
of jittering but I think the most fun
part which is the wound itself I think
that looks pretty good and I hope that
gives you some kind of inspiration for
your own projects if you're doing
something with a completely different
set of plates I hope that the techniques
that I've shown you are pretty useful
alright so that kind of wraps up this
video I'll show my example again at the
end because I have spent a lot more time
on the tech fixes on that one I don't
really have the time to really fix up
this one and personally I do prefer to
the other one although I quite like the
new veins and this kind of extra pattern
that I've added here which of course is
the most fun part
so again if you're not doing like a
nasty wound like this you're doing some
kind of light effect or yes and kind of
growing tattoo or the opposite of this
where like a wound is healing up the
same tech fixes would be involved and
the overall lighting and Composition
would be essentially the same as well so
after this video what I'm gonna do is
show a supplemental video going into
Maya and playing around with some 3d
paint effects that we could use to kind
of generate either something to combine
with our 2d effect or something
completely different from scratch but
is 3d so you can get like realistic
reflections and light interactions and
things like that we're not going to come
back to the cop though so this is it if
you have any other questions so just let
me know and I'll get back to you as soon
as I can all right thank you so much for
watching and I'll see you next time
peace
