Everyone. We're happy to have you here for another installment of Edit with Me. I'm Caitlin Rossi, your host and creative director at Storyblocks. If this is your first time joining us, we are a stock media subscription service helping brands and creators make better video content faster than ever. In today's live tutorial, you're going to learn how to transform simple footage into a stylized composite using Alpha channel assets from the Storyblocks library. Your instructor today is producer, editor, and educator, David Chatziliades. He is one of the lead instructors featured on the Alefem YouTube channel, which has over five hundred forty thousand subscribers, and he's the director of Heavy Reverb Productions. Dave, thank you so much for being here today with us. No worries. I'm excited. A couple of notes before I hand it over to Dave. You'll notice on the right hand that there's a chat and a q and a window. You can ask questions there at any time throughout the demo, and we're gonna be addressing as many as we can in real time as we go along. And anything else that's more general, we'll get to at the end of the tutorial. We're also going to be sharing out a link to a folder which has the assets Steve is using today. So you can edit along with him or you can use these to practice with later. Also, at the end of this event, we're gonna be sharing out the link to the recordings. You can revisit it later or, pass it on to your colleagues. So with that, I'm gonna pass it over to Dave and let you get started. Sweet. How's it going, everybody? Dave, and, we're gonna try to do some stuff in After Effects. So you should be able to see the screen right now. Now the concept of this is I'm gonna load up some examples of what we're gonna be doing. The concept is, basically, you've got these four videos. So we filmed all location here in four different spots. So we're gonna explore how to kinda intermingle all those videos and some creative ways of chopping between them and, yeah, just animating backgrounds and see what, you know, what we can do. We've got some, we're gonna start pretty easy and then try to get a bit more complicated as we go. But these are the raw videos, so you should have these in the Google Drive. Now the key thing here is and in hindsight, we should've probably I'll I'll tell you what we could've done a bit better filming this so we'd have to fix it in post because we all love that, don't we? But we had, the subject, the talent equally distance from the the camera, which was on a tripod. Now if we were to do one thing different, it would be to have the subject walk to a beat, to a song. That's the one thing I would have probably done a bit, just to make it a bit easier on me. So this is what we're working with. So to start off with, we are going to go into our footage. So I've got all my footage up here. I've tried to stay organized. So I've got, all my footage right here, and I'm gonna right click on, let's say, this one right here, and new composition from selection. I'm gonna click on that. And what that's gonna do is take the video and create a new composition. The only thing I'm gonna change is I'm gonna go into composition settings and just because we're live streaming and we want this to all work I am using, like, a m one Max, but you don't you never know what's gonna happen. So I'm just gonna resize this, and we're just gonna work in ten AP. I'm not working in four k just for the time being. Okay. So this is what we got with start with. So, I'm gonna take all those clips and sync them up. Let's rename this s b. No. Story box. Come on, Dave. There you go. Try to keep it organized. So we've got the park one. We got the parking lot one right here. So let's drag that in. And the key thing here is just to try sync them up as much as possible. Now this one is in four k. So what I'm gonna do is I'm gonna click on here and go to scale and go to fifty percent because that would be half the four k. Now, the way I like to sync those up is probably, let's go one at a time. So let me press the eyes right here, and let's get our talent somewhere in the middle. Well, actually, it start right there. And then I'm gonna press t on my keyboard, and that brings up the opacity. So if I do that right there, you should be able to see the clip underneath. So I'm gonna try to put it in the same position. And because, one's filmed wider than the other, I'm gonna scale that one up. So I'm gonna go a bit slower. So I click on the clip, and you'll see these dots right here. Now if I try to scale this, it's, kinda be a bit funny. So I'll press shift and scale it, and what that's gonna do is equally scale the clip up. So I'm roughly gonna position my talent around the same area. There you go. And because it's what I said before. We weren't, you know, she wasn't walking to a beat. She's pretty good, but she's not walking to a beat, so it kinda goes out a bit. And the sizing might be a tiny bit off, but, hey, we're doing it live. Okay. Now first, what we're gonna do is we're just gonna do a simple match cut. Now the simple match cut is on the action of her stepping. Let's go with when she steps there. I'm gonna make sure that changes. So, again, I'm gonna press, well, I've got t pressed. And then I'm gonna match the clip underneath on the action, and then I'm probably gonna resize it right there. Okay? Put the opacity back to a hundred, and this is like boom. See that? And if I do that for the rest of the clips and kinda sync them up like, if you keep the whole clip going, it's not gonna be in sync as we said before, but you can trick the brain right on that action point. Boom. And if we do that for all of them, you kinda get something let let's do another one just so let's do her stepping right there. Let's take another clip. Let's go with the one in the trees right there. Well, actually, that's a bit dark. I think I like this one. Yeah. Right there. Just gonna check the chat, make sure everybody's with me. Yep. So right here, let's drag this clip in. So this is the wall one and right about there. So once he steps down, that's where I think is the best place to change the action. So I'm gonna press t on my keyboard. And then this one, again, I'm gonna have to scale that down to fifty percent. So I press s on my keyboard, fifty percent. Okay. And then we move the clip around until we get to that action point. Actually, this is pretty good. It's better than I thought, guys. There you go. Now because After Effects it like, in Premiere Pro, you could just split the clip. In After Effects, it's a bit funny. It's, the I'll show you what the shortcut is, but in our up here, it's called something like split. There. Split layer. So command, shift, and d. So I'll press that, and then I'll delete the tail end of the clip. If there's an easier way of doing that, let me know in the chat. But, yeah, I've always had to do that. Okay. So we've done three clips, and this is what we get. Okay. The sizing there could be a tiny bit better. Again, I'm not gonna mess about too much, but you get the point. All this stuff you can refine later, so I'm just showing you, there you go, a quick little easy win here, what we can do. Now I'm gonna take it a step further. Use this as a building block. And this is where After Effects, I think, really shines because at this point right here, as she's walking away, I'm gonna take my let's take the tree. Take the stairs clip. Okay? I'm gonna take that one, pop it underneath. Actually, I'm gonna pop it just above the wall. Now this is the fun thing about After Effects, and this is where I think I think, personally, my Premiere Pro session would start to start to buckle a bit. Now I'm gonna press t again and get that opacity right. Now this clip right here, this is the last one we put in. Oop. I don't wanna do that yet. Okay. So let's see. On action, about there. Gonna resize that. So once this stats really, we can kinda start messing with it. K. And that's pretty synced up, actually. Now what I've got here is I've got the, what we had originally was just a mass cut, straight mass cut. Nice. Now I've added this clip right here, the stairs clip. Now what I'm gonna do is call it's called, in Premiere Pro be something called the track matte key. So I'm gonna come into my, project right here, this window, and add a shape layer. Now the shape layer oh, let's just drag it all the way to the top. You get something like this. So I'll make sure we, we can see the stairs clip. And what I'm gonna do is I'm gonna cover my subject. Now I'm I am gonna animate this really quick, but and you'll see why. Again, I'm gonna press t. And in After Effects, what you'll find is you kinda do the same thing over and over again. It's just figuring out a creative approach of how to do all this different stuff. So I'm gonna just turn down the opacity of the shape layer just so I can see what's going on, and then I'm gonna press p for position. Now if you wanted to just press this, I forget, this arrow right here, transform, these are all the different, things that you can control and change, position, scale, but the shortcut I'm gonna use is positions because I'm only gonna change position here. And I'm kinda gonna press the little stopwatch here to start creating key frames. Now key frames are really cool because it helps us animate stuff. And if you got any questions, just keep putting them in the chat below. But what I'm gonna do is I'm gonna try to animate the shape layer so it follows the subject out. So about there, and I'm gonna do that right there. So what that's gonna do is gonna grab onto that, and I'll just keep doing that right to the end. It could be a bit rough for this one. So right to the end, and it all makes sense all makes sense in a minute. Oop. Control z. There you go. Now we've got this right here. Is everything okay? Hey, Dave. Just popping in for one second. I think, we're seeing your After Effects window being shown, but we're not getting, the full UI. So if you're able to switch to sharing full screen, I think we'll get those little extras. Okay. Yeah. No worries. I don't know if I was okay. Let me just, stop sharing. I'll share everything, entire screen. There's not a stairs clip in the in the drive somebody's saying. You can use a different one. All the raw element, like, I think, four clips are there. So you can just, like, swap it for something's right. Can are we good here? Oh, one second. Not seeing it quick yet. There we go. Okay. Can you see that? Yep. Okay. Sweet. Great. So at this point, we've got the shape layer following the subject out. Now the cool thing is what we're gonna do is we're gonna choose, this layer right here where the stairs are or any other clip you want. And we're gonna go into track matte, and we're gonna choose the shape layer. Now what this does right here and, actually, gonna turn the opacity. One more thing. If you could just expand the sorry. If you could just expand the, the after effects window to be full screen Yeah. No worries. Full view. Thank you so much. Is that good? Okay. If I check the chat, you'll get, like, the matrix thing. Alright. So, where were we? Okay. Let me say that again just in case you guys lost. Okay. So after I've done the shape layer right here and I've animated it out, what you wanna do is we'll go to what we were animating to, the stairs clip, and then use that as a track my key. So that basically takes what we've got in the shape, what we've created, and it just tracks it, basically. So all we can see right here is that portion of the clip. And then refining that a bit better, let's refine that. Let's do this one live. Okay. So what I'm doing here is I'm refining the clip underneath. So it's like she's stepping in. It follows her all the way out. And then you can go even further, and let's go and animate the actual mask. So I'm gonna come up to the shape layer, press s, press the stopwatch, kind of the same steps we've been doing, and let's have it kinda appear. So let's start from what this keyframe right here is at a hundred percent, so we'll end up at a hundred percent. But let's go do that right there. So what I've done is I've unlinked the x and y, like, width and height, and I'm just gonna have the height down to zero. And what that's gonna do is it's gonna open up a portal right there as she walks in. Obviously, you can refine that. So I've just grabbed the clip underneath, and you kinda line stuff up. But because stuff happens, like, a bit a bit quick, you can kinda get away with some of the timing sometimes. But you get you get the point here. Now something you'll find yourself doing a lot in After Effects for the keyframes is easy ease. So you can either press, select your keyframes I'm gonna press f nine or select the key frames and then get go down to key frame assistant and easy ease. And what that's gonna do is give you a bit of a smoother so those that portal right there opens up a tiny bit smoother, and it falls her out. So you get something like that. Now the same concept you can have let's see. I was working on one right here. Same kinda concept. Yeah. I I did exactly the same thing in that example. Now if you, let me where is it? It's right there. Okay. So that's one way of doing it. Let's hide that shape layer, and then what you can do also is use a, linear wipe effect. Okay. So we've match cut everything here. So if I wanted to apply a linear wipe effect, what that's gonna do is kinda like do the classic wipe. So we can do that. Let's use this top clip, and then it's gonna reveal the bottom clip. So if I go into my effects and type in linear wipe, I'm gonna drag that onto this clip right here, and that's automatically done it. Okay. So let's go down to zero. So up here, you'll be able to see that. And, again, we're gonna animate. So let's animate that. So let's go from zero, press the stopwatch, and then go to where you want it to finish that linear wipe, and we'll go to a hundred percent. And then you can choose the angle as well. So you can get really creative. You can add, like, multiple linear wipes. Again, these aren't aligned, so what we're gonna do is just move the bottom clip so it kinda lines up. You can get something like that. Let's extend that. And, in After Effects, if you select your clip and press u, what that's gonna do is gonna bring all the effects that you've keyframed so you don't have to, you know when you add a lot of effects, it kinda gets crazy after a bit. So I'm gonna extend that keyframe right there just so it gives us a bit more time. That's got stuck there because I haven't gone to a hundred percent. There you go. Again, you can resize stuff, line it up, something like that. If you want to get even crazier, you can add a second linear wipe going and then change the angle so you have, like, two, or you can animate the angle as well. Let's just quickly do the let me just animate the angle really quick. So wipe angle, and then we'll change that a bit. Something like that. But I'll get Kyle to show you kind of the final easy win example of you applying the combination of linear wipes, track my keys, between all those clips. And the thing is, you don't need all the clips to be super aligned. As you saw, like, where right where the transition is, you can move the clip and kinda get it where you where you want it. You know, you can experiment, resize. Yeah. I can spend hours just, like, refining and trying to make stuff perfect, but you get the idea. Another thing I like doing is feathering that linear wipe. So you get you get a bit more of a softer edge, bit similar to old school Star Wars transitions. Again, select your key frames. You can f nine or easy ease. That makes it tiny bit smoother. So, Caleb, you got that example? There you go. Can you show it one more time? And just pay attention everybody to some of the sound effects And all that stuff you can find in, Storyblocks, like assets. You got music, sound effects, and it kinda brings everything to life. So, Kyle, can you just play it one more time? There you go. So that is so I'm gonna use it as a building block to go to the next example. Again, if you got any questions, I'm gonna check the chart really quick. But, yeah, if you got any questions, we'll answer them right at the end. If I am going just, just note the question, and I'll answer it at the end, and I'll try my best to. Now the next kinda idea is, so we've got rotoscoping. Now this one is one After Effects kinda really excels at, and the new rotoscoping tool is pretty killer, actually. So rotoscope, roto three point o, we're at right now. So rotoscoping means removing the background so your subject is, kinda floating in the air, and then we can do some stuff on top of that. Now let's go with, the stairs clip, or you can use any clip, but I'm gonna start with this one. So I'm gonna right click and then new comp from selection, And because that is, actually no. I wanna work in HD, actually. So because the clip was for filmed in four k, you know, but my composition, I'm I want it to be in, ten eighty just because of processing. So let's press s for scale, turn that down to fifty percent, and it kinda gives us a bit more, resolution to mess around with. Okay? Now, rotoscoping is pretty straightforward, pretty easy once you get into it. I find with After Effects, sometimes you have to, like, you have to repeat those steps on and on just so they kinda, like, you remember the sequence of all those steps. So I've loaded in the clip. What I'm gonna do now is double click on the actual video, and it brings up another screen. So you'll see two tabs up here. So you got your main composition and then the actual clip. This is where the magic's gonna happen. Now let's, let's go to where you can see the full subject, and then there's a tool right here called the rotor brush tool. And what this is do is it's gonna find the edges, and we are gonna have to refine this. So I'm using the scroll wheel to zoom in, and then I'm using the space bar to kinda use the hand tool to move the screen around. Now the Rotor Brush Tool is green, but if, like, obviously, it selects some stuff here that I don't need. So we'll press the option key, and I'm on a Mac. And the option key takes away, stuff I don't want to be rotoscoped. So just paint all the parts I want to keep in, and the AI well, the Rotobrush tool is smart enough to realize what I'd like to stick, stick with. So we've got our bag swinging. And what this is gonna do is don't be, like, concerned that you've started halfway through the video. Once you press freeze to analyze everything, it's gonna go and just scan the whole video, and that's okay for now. Obviously, if you do have more time, you can go in and refine all this stuff, but I think we're and that's pretty good right there. Okay? So once you've got a decent enough result, what I like to do is and this is what might take a bit more time. I've already done it, but I'm showing you all the different, things I would look out for. You kinda scan and see. Sometimes it randomly selects some some other stuff, but so far, it looks like it's, you know, locked onto the subject, which is really good. A few other tools I would use, obviously, you've got your, green is to select. I press option to deselect. But if you wanted your brush size to be smaller or bigger, you press command and then click on the mouse, and you go up and down, and that makes the brush, smaller and bigger. So that's, yeah, that's one it took me a while to find out because it's it's a bit hidden. So command or control on a PC, and that would make the brush size increase or decrease. Okay. So once you're done with that and you've kind of gone through it all, you know, like, yeah, I like what After Effects has done here. I think it's done a pretty good job here. Once you've done that, you press on the freeze. So freeze will can you see how it's going backwards? So it's scanning it back from your, cursor, and then it'll scan it forward as well. So, I mean, we can wait, but I it won't take too long. But I am gonna stop it because I've already done this step. Okay? So once you've done that, you end up with something like this. You have it for forty minutes, and this is what you get. So you get something like this. And once you take the background out, it looks like that. So it's done a pretty good job. And once we start meshing it with other backgrounds, you'll see what we'll come up with. Now, I'm actually gonna, yeah, I'll delete those two. So once you've done all that, you'll end up with just your subject. Now to have this a bit more convincing with this example, you need to add a shadow. So a shadow is always something that you can add, and it just ties everything together. Now I was gonna tell you what not to do, but no. Don't worry. So I'm just gonna copy paste this layer right here. So I'll do it one more time. So I'm copying it. So command c, command b, and then I'm gonna rename this shadow. Right? Now on the, on the bottom video right here, I'm gonna add a few effects. Now the first one let's, so we can see the full subject there. Now the first effect I'm gonna use is an effect called slant, c c slant. So I'm gonna drag it onto my shadow layer, and I'm gonna untick the stretching and then I'm gonna slant it. Now it's gonna look a bit funny, but we'll get there. Don't worry. Now the floor, you need to tell it where the floor is. So we'll tell it that the floor is there, so it kinda sticks to it to its feet to the subject's feet. Then we can start slanting it. I'm gonna set the color. I just want it to be black. And I'm just using that as, I'm assuming that the light source is for weeks more. So, again, if you wanted to change the light source as your subject is moving, we can animate the slant as we have done keyframing. But let's just keep it at that right there. And as your subject moves, hopefully, the shadow falls. Alright. So we've got that going. We're gonna add two more effects. Actually, just one. I'm gonna add a fast blur. What's it called? Fast blur? Yeah. Fast blur box. Fast fast box blur. Sorry. And we're gonna mess around with the blur rate. So around twenty is where I'm having it. I'm actually gonna increase the height a bit, and let's slant it around there. And then the next thing I'm gonna do is obviously, it's a bit dark. I just want it to be a bit on the grayer side. I'm gonna press t on the shadow and decrease that. So you get something like this. Alright. Obviously, this has a transparent background. So if I click on this button, it's gonna toggle the transparency grid, and this is what I've got. So I can add anything in the background here, and, yeah, we'll start messing with the background now. Alright. So I've rotoscoped. Next thing I'm gonna do is start adding the backgrounds. I'm gonna have to resize the background, so give me a sec. So let's build the background. So let's go with the park clip. Again, I'm gonna press s fifty percent because I'm working in h t, and I need something called the clean plate. So I need the clean plate is basically when your subject isn't in, isn't in the frame. So she goes out, and that's where I'm gonna kinda keep that still frame right there. And I'm gonna press right click and then go to time and then freeze frame. So what you'll see here is all I can see is that background. This is the clean play, and then, if I add the shadow and the roto, I get this right here. Okay? It does look a bit odd at the minute, but we'll blend that in because we're only using portion of this as I showed you. Well, you'll see. And then I'll show you the final example. Just getting ahead of myself. Alright. So let's build that. So I've got my the park right there. I'm gonna take let's go with the parking lot. Where is that one I use now? No. I didn't. And I'm going to just make sure I press the I on everything else so only this is visible. Again, I'm gonna press s, go down to fifty percent on that, and I'm looking for a clean plate. So just right about there or at the beginning, that was fine as well. There is an option of looping that, but I'm just gonna go on we'll go super easy. Just use the freeze frame for now. So I've got two backgrounds. Let's add one more. Simplicate fifty percent, and then, let's look for a clean plate. So it's fine right there. Time, freeze frame. There we go. We got three backgrounds. Let's add a fourth one just because we like even numbers. Alright. Same again. If I've if I've done a step, I'll probably just do it really quick. Alright. Freeze frame again. Alright. So right here, I've built my four backgrounds. And this is where it gets a bit fun. I'm gonna reference something we did at the beginning, the track mats. Now if I put everything in that looks a bit odd. Obviously, I think a step I missed out on would have been, resizing everything. So everything looks like it's, it kinda belongs, but I did skip that step. I do apologize. But after I, start animating these, you you won't be able to tell that much. Alright. So so I've got my four backgrounds. Now what we're gonna do is we're gonna add a shape layer, and we're gonna do the same trick as before with the Track Matte keys. And let's go with that shape layer right there. Alright. I'm gonna copy paste that, and then I'm gonna double click on hang on. Actually, I'm gonna select the selection tool or just press v on your keyboard, and I'm going to move that second shape. Alright? And my aim is gonna copy paste these until I've covered my full screen. Let me just do that really quick. Again, copy paste. So I've got four shape layers here. Copy paste. And then my sixth one right there. Okay. If you wanted to be super precise, you can, just make these all equal to, what would it be? Nineteen twenty divided by six. You could probably do that and then have everything be, like, super precise. But right here, I've got six layers. I'm actually gonna copy paste. I need I've got four backgrounds. I've got six shapes. I need another two. I'm just gonna copy paste the last two. So by the end of this, you should have six different backgrounds then six shapes. And what we're gonna do is we're gonna use that same trick we did at beginning and use the track matte key and assign that to each shape. So what you'll see here is only that portion of the first clip is visible. And if I go down, I'm just gonna randomly assign them. One, two, three, four, five, six. Alright. So you get something like this. Alright. And then if I've got my subject on top of that, you can see it moving through the different sections right there. Now, again, something that After Effects does really, really well is you can take a bunch of layers and then add a controller to just control all those layers, something that's not really possible in Premiere Pro. I kinda wish it is it was, but, no, not yet. So this is, something. So we're actually gonna just create a null. So a null is just a object you can link to layers, and then it'll make sense when I do it. But you've got all these shape layers right here, and the null is basically it contains, it can contain a bunch of effects. At the minute, it just contains, size information. And what I'm gonna do is I'm gonna select my shape layers and then pick whip that to the null. So what you'll see is that the null is the parent and all these right here, all the shape layers are gonna follow the null, which means that if I change the size position of the null, all your shape layers are gonna follow. Right? Which means we can start animating that. So as soon as my subjects are around here, all I have to do instead of animating all my shape layers, I can just animate the null because that is, like, the parent. I've linked everything to that. So we've got the position right there. I did that a bit too quick. I do apologize. So I've got no I'm gonna go down to position, press on the stopwatch, and then move forward. And let's let's actually get to the point where we can see white of the frame. And this is where you kinda experiment to see, like, how fast you want the background to move. So it's starting to kinda take shape. So we're kinda getting there now. Now moving a step further, what we can do is we can add a what kinda sells this is movement, but we'll get to movement in a second. No. Actually, it's through movement right now. So the way I would sell this effect having a locked off camera really helps for production, but to sell it, we kinda need a bit of movement. So we're gonna add an adjustment layer. And the same as in Premiere Pro with the adjustment layer, you add effects and it affects everything underneath that. So all I'm gonna do here is let's see. What's the best way of doing this? Got some presets. I'm trying not to use my presets right here. Let me skip that for now. I'm gonna add the adjustment layer, and I'm gonna affect the background for now. Now, two of my favorite effects, and I've done, on the Old Family channel, I've done a full tutorial on this, and you kinda end up with this example right here. It's kind of a sporty, kind of, yeah, highlight video effect. But what we do here is I broke it all down. So if you can see, the background gets animated, and I'm gonna use some of these same techniques. And there's a bit of fake camera move movement there. But I'm gonna use if you can see what the background is doing right here, that's what I'm kinda gonna do here. I'll break that down. I'll just do the same thing. But the way you do is add an adjustment layer, and there's two effects that we're gonna use. One is called, radial blur. It's right there. I'm gonna drag that onto my adjustment layer, And it does some, yeah, some freaky stuff like that. We're gonna take the amount and probably go down to three point one around there. Obviously, you can animate that, so it kinda gets crazier as it goes, but we'll keep it there. And then the next one is called CC CC Lens. And it gets a bit crazy, but don't worry. We're gonna calm that one down. So what I like about this is it adds, like, that little bend. So if I take the adjustment layer out, this is what it looks like. And if I add it in, this is what I got. Obviously, you can adjust those settings, but, yeah, it starts to, you know, get a bit crazy. Right? I'm gonna stop adding stuff to that. But what we did in the, in the advert when we started showcasing, like, what we're gonna be working on, Kinda lost my layers here. Give me a sec. Where's everything gone? I've lost where my rotor is. Sorry, guys. Oh, there it is. Oh. Oh, there it is. Yeah. It renamed itself. Yeah. Obviously, it's gonna happen live. Alright. So where my roto and shadow are, I'm actually gonna precompose that. That is a very similar thing to nesting in Premiere Pro because, I'm not yeah. I'm not gonna want them separate, and it's just easy, Roto plus. And it's just easy to have one thing to, copy paste around. Because what I'm gonna do next is I'm actually gonna copy paste the rotor on the shadow and just shift that. What happens here is we start getting, like, the multiple of those, subjects walking, and I'll keep doing that. You can space those out. All I'm doing now is just copy pasting the roto in the shadow, what we pre composed, like, what we nested, and if this computer plays nice, I'm gonna go down to half resolution. Hopefully, it plays nice and smooth for you guys. You get something like this or not. We'll go down to a third. I've actually got an example of it already exported. It's right here. That's what it kinda looks like. And, obviously well, let's not do that one right now. So that's what you kinda got. I've added, like, some extra things because I've already got the background. I could quickly show you how I did that one. But this way, you kinda get how are we doing for time, Caitlin? Sorry. I've I've been We're doing good. We've got about, let's call it eight minutes left. Okay. Cool. Let's add some movement to the whole thing just to sell the effect now. Come on, After Effects. It kinda looks like it's glitching out on me. I think I've tried to be too much on it. You kinda get the general gist of it. Let me just take some, layers out. Hopefully, that makes things a bit easier for my machine. Alright. So, basically, what we'll do is we'll add a adjustment layer so it kinda covers everything up top, and then we are going to add a transform effect. And if I was to transform right there, And it works exactly the same as it would do on, in Premiere Pro. So anything underneath kinda, gets affected, position, everything. Now the way we're gonna sell this is and it's this is a bit of a more of a deep dive, but I think we're at that place right now. You can either keyframe your position. So, you know, you can either keyframe this so we go from let's go from the start right here. Actually, it's keyframe rotation as well. To to sell that camera of movement, you can kinda just, like, shift that, shift the rotation a bit, and what that gives you is some kind of movement. So it'll make the whole thing move slightly, but we need a lot of key frames to make that worth our time. So instead of that, what I love doing is using expressions. This is like another level of After Effects geekery, but we use expressions. So if I press option and press on the tie, the time watch right there, you get these this little thing to do with coding. Don't be worried. I'm just gonna put the most used expression. It's called wiggle. Now with wiggle, you've got two parameters you put in. One is how often you want something to happen compared to how much. So I always end up experimenting and seeing like alright. That's not crazy enough. So I'll mess around with some of the parameters and see what it gives me, and you'll notice a bit of movement. If I go super extreme, you'll notice a tiny more movement, and that's just on position. So if I go to rotation and do exactly the same thing, so option, stopwatch. Again, I'm gonna go wiggle, press enter. Let's go with three and ten. You start seeing a bit more movement. If I go really crazy I mean, let's go forty on that one. Oh, that's not moving. Let me just delete that. What I'd usually do is, admittedly, and this is where Starbucks and all that kind of stuff comes in really handy, is using presets. So let me just create a preset really quick. That's super subtle. The it's kind of the same thing you can do with if I was to do the same thing on a null. But, yeah, that's something to mess around with. And, yeah, see how you get on with that one. I think that's time, Caitlin. I can go into a bit more geekery, but I think we've kinda we've kinda done the rounds there. Sorry. I'm impressed. It's a lot. Sweating. It is a lot there, isn't it? Sorry. A lot of effects go through. Yeah. And I know after effects is always, can can throw you some curve balls. But, yeah, that was that was, like, super cool, and I can see so many different applications for using, you know, an effect like that. Yeah. I can show you some of the stuff I've done in the past. And the thing is, obviously, you've got, can you still still see my screen? Sorry. So this is, something same kind of techniques. You kinda use transform tool blurs for that fake camera movement. So that is a still locked off shot, but everything's animated after that. And then, this one, this took me so long to do, but I'm so proud of it. But I did one of those looping, videos where I cloned myself playing all these different instruments, but that is all rotoscoping. So I had to plan it out and rotoscope myself playing a few times, moving. Yeah. I had to kinda plan this all out. But all this is rotoscoping and then transform effect to use it as that camera movement to kinda hide a lot of that stuff. And then, obviously, I saw this example right here, which I've done a full tutorial on the All the Fami YouTube channel. A bit more curated, but there's a lot happening, like chromatic aberrations here. Yeah. There's so much you can do. But, hopefully, I've covered some of the techniques you can use across a few ideas. And the thing is, as you saw, I'm using masks. I'm using rotos. I'm using, TrackMat keys, keyframing, easy ease for the keyframes. And you kinda use the same things over and over, but it's just you need to figure out a creative way of using all this stuff. Yeah. Well, I think we, we don't have any questions in right now. So I am just going to assume that everyone has been heads down, editing along with you, or listening intently. I know I was because it's so detailed. So, Dave, we really appreciate the tutorial today. If you all wanna check out more of David's tutorials on, YouTube, you can go to youtube dot com slash at elofemi. And then you can also visit story blocks dot com slash resources for more edit with me on demand webinars, that are about, you know, different skills. We've had a couple other, teachers on as well. So feel free to check out those two resources, if you wanna watch more. And, yeah, stay tuned for more content coming from, from the Storyblocks team as well. Cool. Thank you so much again, Dave, for being here. Sorry. I was just checking the chat. Yeah. Thanks so much, guys. This been, this been great. Thanks Kyle, Amelia, Caitlin. You guys have been awesome. And, yeah. Thank you. Thanks again for having me. If you got any questions, you can always hit me up. Hit the story box guys out. And, yeah. If we can help in any way, just, just let us know. Cool. Bye. See you guys.
