Lessons

Lesson Info

Applying Effects to Layers

I'd like to kind of take off from yesterday uh and also reached back a little bit to the beginners class and this is a project that I featured there and if you attended that class you'll recognize that I had these jumping pineapples and it but this is based off from the ball bounce that we did yesterday but I had done a little bit more with uh the animation's here so uh what I had done is I've got them bouncing of course we've got our motion blur on but I also have in effect in there that lets me transform and skew the pineapple as it goes through so what it's doing is it's bouncing and the skew is leaning one direction and then leaning back the other so when it bounces it looks like it's advancing to the next level uh and then it kind of flies down toward so when it's making contact it looks like it's pushing off, not just bouncing so that's what I've done with each layer now I've added a few more pineapples there's another one that bounces in bounces in and up and then kind of the ca...

rtoon drop that was my sound effect ah and then I brought in like we did with the balls yesterday I brought in a lot of pineapples basically just duplicating the layer and having them bounce different rates different times and moving them uh a little faster a little slower just like we did with the ball bounce yesterday this project will be in the downloadable all content as well if you really want to learn the entire project I covered it in full detail in the beginner's course um but one thing I did want to point out here is that I do have sound effects added to this and I know somebody had uh tweeted yesterday or asked in the chat room about adding sound and this was a good segue way to take from what we learned yesterday into, um, today and throughout the day I'm gonna have some projects that may have some sound in it, so I'm going to be covering audio quite a bit today, so let's, take a look at this and this is what helps sell something selling animation if I was to just animate this just do a quick ran preview we get this fun animation, these pineapples bouncing, but they kind of lack, you know, a little bit of character because we don't really get the sound effects we have to make our own right. So to really bring this toe life is to add some sound to it and I went and got some cartoons sounds off from my my sound library and I've got all these little sound files in here and what I've done is I've taken specific sounds me grab one here see if he'll play through tried this way uh won't preview the sound that that way uh we'll have to do it in ram preview mode so what I've done is I've got sound files for each each instance of a balance and that's why I've got so many layers in here I've just brought them in I've got a whole folder full of sound effects here and they're all like little cartoon sounds so for every time it makes abounds I've got a sound file instance here you can see they're kind of stair stepped in there, so I just lined them up so that the sound actually matches and one way to do that is if he twirled down an audio file you keep twirling down to see the wave form that little bump there in the, uh, wave form that helps you visually line up your sounds. So if you've got a long sound and you want a line things up the long audio clip and you want a line either your visual cues to that or you want a line where you place your sound on the timeline, the wave foreign data really helps you do that and of course the audio feed back of that will help so let's see what this that's actually hear what this looks looks and sounds like with all of the audio cues and their cartoonish so do keep that in mind so we'll do a ram preview but there we go okay come on hit the wrong key there okay I got to hear that again. Okay, so that's I think that's a great way to start our day don't you think nothing like watching morning cartoons it's not even saturday so you can see how sound really reinforces your action when especially when you're exaggerating on animation we've got the visual cues of the exaggerations that really brings character to in adamant objects on dh then of course the sounds of reinforced that again just like the a basketball yesterday you know this pineapple is just a single photo shop earlier um it's just a static uh static pineapple with a little transparency around the edges and the same thing with the table it's a png file we could be looking at making png files from illustrator later today so too to still image files that are just animated over time and uh having a lot of fun with that so I check out yesterday's uh lessons if you if you wantto see it a little bit more of that if you happen to miss yesterday so I'm going to close this up here and we don't need to say that okay so this morning I want teo cover some some of the effects it is after effects after all so I want to cover some of our effects that we can apply now the thing with aftereffects is there's just so many in there it's probably, um probably a good idea to just spend a day applying each and every effect to a single image or a single video clip just to see what it does and just do some joy riding uh that's probably the best way to see if there's anything that's useful there's a lot of crazy stuff I'm going to cover a couple of those two just it show you the extremes of how things work there's a couple different ways that you can apply effects tio to your video layer or your your whole project so I've got just a piece of video footage here that's just a pan that pans across it shows the golden gate bridge there I've just got this not very well exposed pan there, but if I want to fix the exposure there's a couple ways I can do that I can select the layer itself, go to in effect and then come down to say color correction and I can come down to exposure and you'll notice that I've got my effect shows up here in the effects panel and I can play with my exposure in here and we'll bring it down little correct my gamma a little more crush those blacks a little bit um depends on what you're creating um maybe back that off just a little bit it's may look a little different out on the internet than it does on my monitor here but that looks a little cleaner there and then of course I could go into my individual channels here and, you know, really start, you know, messing with your color he was chefs and everything. So this is this is a good place, tio start just in really making those those videos pop a little bit that's a really good place again. There are a lot of plug ins that do ah similar thing. If I get rid of that one, just delete the effect. Er, come down to the color correction one that I use because being a photo shop guy his just makes sense to use level sometimes so I can see my history graham here what? It looks like what I've got to work with and I can see that down here on the black and is falling off so I can probably bring that up a bit in my master that'll help crush the blacks a little bit without you making them flat uh, and then I can also go into my individual channels and I can, you know, cool it off for warm it up, mike color temperatures uh can do that with the red and blue channels here, so if I want to make the blues the sky a little hotter a little brighter blue if I want to make my grass a little greener kind of pull these in here so you can go back and forth between the channels and really tighten things up and see how it looks throughout the whole scene so I may have really kind of destroyed this one so I uh buddy just play back and forth with it again it's all not destructive so it doesn't matter you just leave him if you want another way to do it is to add a um a new layer which is an adjustment layer so you can come up here to layer new lips had adjustment layer and anything you put on this adjustment layer affects everything that's visible below it so if I say I put go ahead and just apply levels again that was my last used effect it always shows up right under there so your last used effect shows up right in the top of the list if you want to repeat the effect but start with fresh settings that's a great place to start so I can come in here and tweak away and uh it just effects everything below it and coming up here warm it up a little bit case this is good if you have several shots from the same camera with the same exposure settings and or a couple different cameras that you've got white balance is set and they match really? Well, this is a great way to do an adjustment to everything. Uh, you could have several layers underneath their different clips, it could have different cut clips, you could have animation pieces in there and anything that you I can put on, you know, that does an image control on a layer, you can add to an adjustment layer, and then of course, you can move it within the time line, stack the layers stack in the timeline, and it will again on ly affect the layers that are below it. So it's it's, nice to be ableto have control to do things globally like this, um, and also to be able to sort it in the layer stack so that you could have things above it that aren't affected, which is really, really important, because there's times, where you don't want the adjustment applied to an animation you've created so that's making an adjustment layer ah, again, uh, there are some other, uh, let's look at a crazy one here. This one is called kalorama, and I've applied that to an adjustment layer, and then I've also animated it see that's another thing with with effects I touched on this a little bit yesterday, but today the one thing that makes the, uh, this plug in really animate is the cycling of the phase shift of colors. So if I just move that over time, you can see it cycles and it makes these wild psychedelic colors. Well, I have a key frame said at the beginning and then I've also got one down here at the end, so everything in between cycles through here so this is kind of a cool pop art effect. Um, obviously has very limited usefulness, but it does have usefulness, but it does, uh, really demonstrate how you can animates cycling, how you can animate things. And again, this is applied to an adjustment layer, so if I had anything underneath that, it would fall under, uh, the guises of this particular adjustment layer. So what happens if I duplicate this layer now? It doesn't double shift in there and it's going to go even crazier because I'm stacking elements at this time it's it's affecting an effect so that would have kind of a double effect. And now it's going to really wonky but it's a little more monochrome, too, as it's going through its cycle. But if you want to create something that has a really rich pop art, uh, effect that's just a really quick way to do it, and then of course, you come back things off when you look at the affect itself um you can play with the different parameters in there actually we just grab it up here. The nice thing is is I selected there I've got it up here in the effects column so I could place my animation cycling of the input face or I can, uh, mess with my output cycling you can go in there and really have fun with that experiment with that. So let me take that one out of there uh another one is this cc blobby eyes and that is found let's see, I believe that one is found under is that generate no that's the thing that they've got these kind of stuck in strange places so there it is it's under distort so cc blobby ice and that's um all of these effects that I haven't hear ship with uh aftereffect cc so that sisi doesn't stand for creative cloud it stands for something else and it's been so long that I can't remember what psych cyclone effects or something like that but you can see it does a really interesting almost an embossed feel to it. Let me go ahead and render it there we can see um it's using the loo eminence of its own channel to create this strange and bossing effect it's almost a metallic or old liquid or something that's really, really odd but it's cool it's intriguing I could say you you're going to have fun just going through and playing with these effects um I have to say click on everyone and see what it does just so you know and then keep note of what each one does that you would like this one does this this one does that just keep a list of uh very cool for that uh see another one this one I've used actually for transitions before um and I'm not sure if this one is also available on premier I'd have to check but this is ah film burn and is he scrubbed through here? You see, it kind of burns like the old fashioned film typically film burn happens when the film stops and sits in the projector for all the old timers like me that went to the theater and saw this happen right in the middle of a bugs bunny cartoon hey no no I want to see what happens so but it makes a nice transition where you could go um actually let me try this really quick since we have the capability here so we duplicate this layer the bottom and pull this down to here so where do we go black get out of there okay um what I'm going to do here is used this hang on a second here I'm going to try something new on live tv uh, I'm going to use that see where does it start? Right about there maybe also wants to go in and start it back here that will just shrink this whole thing goes black to their ok, good. So what I'm going to do? I talked about doing track mats yesterday and we're going to get into that mohr tomorrow, but this kind of gives us a chance to see how we can use, uh, a plug in effect on, uh, something here so let's see if this works so I've got this duplicate of the bridge pan, but I've gone down in time here, so you can see I've just kind of done a jump there it's not going to jump I'm going to try to make this work off a track, matt, so going to layer track matt and then luna matt so what we're going to see is the black areas of the burn should reveal the next piece of footage there it goes, so this is what I've done there, let me hide the bottom one so that it makes more sense and now the bottom one is black and what it's done is revealing so let's see here that's the wrong one, go all the way down the bottom here, let me try to reverse that track, matt so that it shows a little better when we're doing this uh go to track met and inverted track matt okay, this is going to do just the opposite is goingto everything that isn't burned goes goes way there we go so that that burning of that layer the luminant ce which is the lightness or the darkness depending on whether you do a trach matt or an inverted matt, whatever the luminous of that channel above the one you wanna transition to or or expose will become present that is the either if you have inverted than the dark pixels will become what gets revealed if it's uh if it's light or the white if you have white in it, here we go. This will show it a little better. So the dark pick since I haven't inverted all the dark pixels of that burn make this reveal and then it comes on that's actually probably a cool intro, right? They're just doing it like that going from black and then a reveal onto the video. So that's that's that's kind of a little precursor to track mattie, but it's cool that it could be done with just a plug in on an adjustment layer and I'm using that adjustment layer as my track matt so that's a that's a pretty cool thing I like that one, okay, so again, my suggestion is to go through click on every plug in and play with it stack him up see what they can dio and have fun with um wait have a quick question in sure ready to take it I'm so fifty and los angeles asks can you create clipping groups in uh after effects so the adjustment layer on ly affects the layer directly beneath it so similar to photo shop where you compare them up um not affect all of the layers after it um it what I would suggest is in that case I would make sub compass or pre cops so just if you want to do something like that just have your adjustment layers and whatever layers they're affecting go ahead and pre cop those and then uh it will uh it will then only be affected by those so let's let's actually try that really quick here let's try um do this and we'll duplicate our original layer um and c and get it up here underneath that so that we have got those two together so if I select both those layers and then I pre composed them I'll just leave it st pre cop one now when I have something else so let's let's make that let's see how do we do that so it's I I can make just a quick mask in here so we can see through it this may not be the best example just because I'm doing that but I can see that just by making the mask on that that it's it's obviously not going to affect that so let me move this down in time there we go so just buy pre comping your adjustment layer with whatever layer or layers you're affecting you pre comp um that makes a sub com that way that way adjustment layer only effects whatever you wanted it too in that groups if you've got one hundred fifty layers here you don't have to worry about an adjustment layer messing up one hundred of them if you're fifty deep so hopefully that answers that question thank you all right so let's close this up okay? Another fun one here is some of the particle generation now I used some um some old stock footage out of the archives public domain on this and particle generators can be fun they can be a little bit nerve racking but the nice thing is they could be added to adjustment layers or solids I believe in this case I've just I've used solids um because I think I think in the case of this they do need a solid I'm not sure they work on adjustment layers because they want something to apply to not just an empty box so here's the original video will render through it it's an old old oldsmobile commercial and it's really hilarious I think so it's only the first dramatic dryer there's no gear shift no such pushy just step on the gas and gold smart way the future am equate the old mobile with so yeah the future amick way what cracks me up is the guy's just sitting in the car it's not moving you see the reflections in the glass and that bushes outside aren't going he's just sitting there pretending and the look on his face it's kind of like gosh somebody's harping at him in the back seat probably the director saying act like you're driving eso it's too funny and then of course the families waving goodbye as they go there out there by the swing set okay, so I wanted to kind of have fun with this so I've added some particle generation here to some of these layers and uh let me just duplicate one of these quick and pull the effect ofthe uh okay and I'll show you how I stacked these effects actually pull that out of there so what I've got we've got a uh the opacity of this layer I've got said it eighty percent this is just a um let me go to a hundred percent you'll see it's just a white uh solid so I've got it set at fifty percent cause I didn't want you know really opaque uh rain or anything and then I come down here to effect and then uh this one is under simulation particle systems too okay and by default this is what you get it's a showering fountain of yellow silliness so I think this takes a while to go in and really understand what it does but for doing things like rain and snow and fog and sparks um things that are kind of loose and somewhat malek molecular uh not necessarily like water or anything that's it's that's uh really got volume to it but you'll see is you start playing with this how messing with some of the particles and the physics of those particles how that all comes together so uh let me see here I've started with this uh, fountain here and in this case let me set my opacity up I'm going to turn off that since I'm just experimenting here said it's we see at full strength there we go okay? And what I've got here is it's got whether it calls birth and death and what that means is the birth rate of each little particle it's starting pretty high that's up here birth rate if I turned that down way down then I decrease the amount of particles coming out from the this this emitter here that's what this little guy is here I can click that and move it around on screen I can also animate the position of that which is great if you've got, uh, text or something that's coming across the screening you want sparks to fly out then you can follow it along with this so there's a lot you can do with these little particle systems um the longitude hideous is set at two seconds which means each particle will last for two seconds. So if I crank that up a bit they'll last longer and that means that the color will also stay brighter longer my birth color so from the birth to death isthe four seconds which means at this rate the way this is by default the particles air off the screen before they start really turning orange but if I turn that death rate or launch a tive ity down I want to say death rate I guess but it's that's the end of it it's okay to talk about death. Okay, so here we go like one and a half seconds we see they start turning orange uh if we go down to type it in point five we see they kind of is a little more like a sparkler at this point shows up better on darker background so they go to this red color before they reached the end of the screen almost right before so this tells you how long it's going to last on screen this tells you how many are going to come out so we can really here we could crank that up and this would probably be better coming out of the tailpipe right yeah uh move it off so it's not right on the on the door there okay, so um that's that tells us our color ah and how it's physically coming out get us is just by default we can choose what type of particles are coming out for things like rain or sleet or sparks or things like that you want it to be a line um you can choose others like these little stars which could be a really corny effect um shadid fears spears disappears so you've got these little balls or bubbles and again you could play with how those fears are generated and what their colors like faded sphere I use a lot this is how I make snow and how I make fog and things like that because you don't have a hard definition on the edge of the spear you just have these little glowing things and you look at that yeah, I could use that to make bubbles I could do all kinds of stuff just by changing the color um and then of course get shaded and uh faded spears and they have a little more volume to them a little more definition so that one's also useful um bubbles aren't quite is useful because they really don't look like bubbles to me they look like graphic uh graphic elements like a little graphic bubbles maybe and then of course, you can keep going on and on and on down um if you've got the lens is that pop out again? Those air more graphic looking, um, same thing here a little more like the spear, but a little flatter, possibly so anyway. Let's go to our faded sphere here and I don't want these colors in here. I'm going to go with something maybe like a medium gray that's where it starts and then I'm going to go just the opposite I'm gonna have a go greater as death and that way it has more of an effect of something coming at me. So now I can play with the size of birth size could make him bigger and then I could make the death size even bigger and then you start seeing ok, now I can see how you could be making smoke or maybe his car's overheating here actually radiators up front, jeff okay, all right, so yeah, that was now is poor oldsmobile is overheating and now his shoulders on fire and now his foot's on fire. And now the whole car is on fire. So yeah, that you so you could you could do that, you could actually have that and animate that that point across so that it looks like it's coming out the back so you can start to see ok, this is a lot easier than it looks, which is great we want it to be that way uh now the producer is where you animate the position this's the producer see the numbers change appear right in here watch these numbers as I you know either drag him moving around or I drag it from here watch those numbers move up there so you can keep frame of course key frame the movement uh the physics is where it really comes together for us now we've got, um are particles generated and we want to maybe make them a little less you know, crazy it's not coming out that much you've got some different types of motion um twirly which looks almost the same it's looking for tex text there we go so that that really looks like a like a the radiator on a model t you know it's coming out it's that kind of blows it up um fire which is interesting um again it just kind of goes up it's kind of forcing the direction of what's happening uh and then of course sideways it's actually coming out the bottom you can adjust the angle in direction it's going to see I could go I could blast that a little different you can animate things too like that direction it makes it twirl while it's going so what schools again? Everything with a stopwatch you can animate just that's the thing that's so cool about after effects you can animate just about everything so I'm going to leave this on explosive but I'm going to make it less explosive so if I go to like let's try point five and see ok it's just kind of falling out now that's because I've got gravity in there so let's go to say point one on our gravity all right so still coming out let's go to point to hear for velocity that actually makes it not come out as far let's increase our velocity let's take um let's go negative on our inherent velocity see if that slows it down a little bit negative on gravity you go negative on gravity a ten stick arise you can see it going up more and more and more. Okay, so, um I'm trying to actually slow it down so it's not quite is fast I'm going to act we cheat here and look at some that have already made. So this is kind of like cooking on live tv uh see here I'm going to go to the fog because that's kind of the direction I was going there so here's some fog and let's look here how that was built so this fog bank comes in it's just down at the bottom and it's kind of misty and raining and ominous on dh see here my particle size you see I've got a faded sphere birth size this four deaths seven um and let's look at our physics generator here so you see here's my direction so I was in the right I see I have it in direction instead of explosives so using direction was a little less uh volatile so if I've just got fog in here I've got an upper fog and a and a lower fog so it's kind of sandwiched within fog so if we render this real quick and see just the first little clip here I've got these already rendered to so we can see the finished pieces but just so you can see how the particles work and just just decide dramatic drive on with gm hydra matic dr turn the audio gmo hydra okay, so um yeah, I turned the audio off from that guy um so you can see the cloud bank in there is moving along now I can turn either of those honor off because I've just got them situated in different places in the frame I've got snow in here and in snow to give it a believable look you have to actually have a couple different layers if you just have some flurries come down like this that works well just for flurries okay so you just got some basic flurries out there and what I've done here if you'll notice um I've actually just taken my capacity of that layer down to zero so when he's in the car it's not snowing in the car you know obviously doesn't want it's snowing in the car so that's how I've affected that cereal easy cheat but I've also added another snow layer here which the particles are smaller uh they move a little fat a little faster there farther in the background and there's more of them so now I've got kind of this more of a three dimensional feel even though they're still into d space I've got smaller particles behind me larger in the front kind of like what we did with the balls yesterday where I've got the smaller ones moving a little faster in the background bigger ones in the front kind of give you that illusion that there's death and it's all about illusions that's what after effects is about it's creating illusions and we've got the kids on the swing set out in the snow and he's getting in the car taking his mother in law back home on dh by so that's ah that's just a fun scene I like that how about rain let's make it rain uh same kind of thing now with rain the rain layer why also added a gauzy and blur to it because the particles themselves are just like really sharp sleet like uh when the lines come out so if you want to soften them up but still maintain you know, thin lines I just add another effect to the layer gazi ambler just find that under blur you know, perfect player and sharpen and causing blur and that just kind of auntie aliases things a little bit so I've got it set to here and if I look at that render just a little bit and then we see it's raining and on this one I increased the rain over time let's look at the birth rate so what I've done is over time of increased the birth rate from a level one up two by the time we see the outside again it's up to about four and the kids on the same swing set or getting soaking wet now so let's see, I've got these rendered already so let's take a look um hide after effects and I've got thes here's uh here's just rain and with gm hydra matic dryer there's no gear shift no clutch pushy just step on the gas and go smart way the future amick way the old movie so and then I've added rain and fog together which really gives it a and the story of hydra matic dryer there's no gear steering no clutch forty just step on the gas and gold smart way the future amick way old so you can see that's we scrubbed through here the fog really I've just got fog at the top it really kind of knocks back that it's actually a sunny day or a studio that they shot this in so that that kind of helps sell the cell the effect a little bit there um and then we've got snow and snow and fog let's go right to the perfect storm here and and with gm hydra matic dryer there's no gear shift no clutch pushing just step on the gas and gold smart way the future amick way the old movie so anyway that's particle generation in a nutshell that's just using one filter effect and being able to create all of that I think that's really pretty impressive that you could do so much with just one particle filter perfect and there's a lot of mount there's a lot of third party stuff out there they get really complex that have a lot of geometry and a lot of physics involved in three d and everything and there's stuff out there that you go crazy with but I want something simple that just gives you some some basic controls in a pinch this is a great way to go uh okay so let's go to one more effect this is a new effect in uh in after effects cc and I touched on this yesterday's thie pixel motion blur effect and that's a new plug in uh as we kind of went through yesterday we've got physical motion blur that we can apply to objects that are in motion okay some ramp reviewing this so you see the ones on the top have the motion blur applied to them that the text on the bottom doesn't so and there may be times where you want a more graphic or like video game type of look to something so you might not want the motion blur but the motion blur helps your mind at least visually feeling the blanks the text moving across back back and forth you know, not be able to read that on either either way because it's moving away too fast to really read it uh being that it is also the same word as the ones going slower your mind can feel that in but that's physical motion blur and that is just by applying this motion blur uh button to the layers that air in motion and enabling it with master button but what if you have something that is already rendered uh then you have to um see here that effect is on there yet. Okay then you have to actually add the motion blur to it here we go turn that off, so taking the basketballs from yesterday I rendered out one without any physical motion blur and that's the one on the right here that we see now if I just turn on my motion blur button here to try to enable motion blur in there it's not going to do anything because the layers not moving the layer is sitting right here see the layer doesn't move it all its position isn't moving so just by turning on motion blur for that layer it's not goingto it's not going to do anything because it's just a static layer after effects sees it and it's not doing anything it's just sitting there so in the past you've had to use a third party plug in and now they've actually added it here too aftereffect cc and that is the pixel motion blur and you can see that with the settings I've given it here that it's matched pretty close if not even done a better job of given us motion blur that really works for this animation so I'm showing them side by side here with um physical blur on the left and the pixel motion blur on the right this is really important especially when you're dealing with your animations or even stuff that's done in green screen I used I used pixel motion blur I have tohave when I'm doing compositing because there's times every you're you're keen out something you're keen out maybe a person or an object or a mask of some some sort you're masking out something and I'll show that tomorrow uh in more detail but if you're moving something and it's been massed out. You don't want those hard edges you need natural motion blur special if you're you're working with video because in reality and that's, why it's? Another reason why they shoot at a lower frame rate you're shooting with a slower shutter? You're shooting it twenty four p you want that film like, look to it, it's going to soften things it's a little more pleasing on your eyes um, and I could go down a whole line on that topic alone. I actually if you go to my blog's, you'll be able to read about what I thought of the high frame rate with the hobbit. So go read that if you really want to hear my thoughts on high frame rate, I shoot in high frame rate sometimes, uh, if I'm looking for a specific effect, if I need to slow something down, especially I'll shoot at sixty sixty p or one hundred twenty or two forty penan what camera I've got and I'll shoot it a higher frame rate just so I can slow it down and get a nice, clean, slow motion, but typically I like a softer looking piece I like that filmic quality film like quality and that comes with motion blur that's really all it is is motion blur that's what gives you that softness? So if we look at this animation here that left in the right there pretty close and I could probably crank up the most people are a little more to make it even more exaggerated, but I think that it probably does even a better job of emulating riel motion blur than the physical one, but again, you can adjust the physical aspects of your motion blur too, with with settings in your composition advanced settings but this is a big, big big move uh that makes after effects just that much more powerful. So and the funny thing is when you go to look for it, let me turn this one off let me apply it because if you are looking for it, you're probably not going to find it where it would be logical he think, oh motion blur should be here, right? No and then you have to go hunting for it it's down here under time so you have to go to effect in time and then pixel motion blur. I'm always kind of curious as to how adobe comes up with their logic in placing effects and some of them move around and some of them don't. So sometimes you have to go hunting for him uh or if you just want a quick way of finding it, just come over here to your effects and presets panel and type in pixel and you'll see here it comes oh, here it is right there and grab it there and then just drag it here layer so they're it isthe so I've got it applied three times in here. Um so to get mohr emotion from your motion blur um you can play with your setting syria shutter angle your shutter samples might smooth it out just a little more if you had increased that it's a little smoother motion blur um but it just doesn't amazing job so let me show you on some actual video footage. This is some video shot at sixty p and this is our little prime pride and joy is our horse misty she um this's a couple years ago I shot this so she's a bit younger here than she is now but this piece see if it'll just play through I'm after let that render so actually plays back in sixty p here see here have got things going on in there so that's sixty frames per second a little harder to see inside here it's better to see the actual rendered side by side and I'll show you that in a minute but things like her hair movement the camera movement it's ultra clear it's ultra crisp and that's kind of the advantage and a disadvantage of uh of sixty p so let me go to fit one hundred percent go all right so we can see these side by side it's going to take awhile to render this way but I will I think I have this rendered already let me hide this and side by side compare sixty p here we go so on the left is the one with the pixel motion blur the one on the right is the stock so this is still playing back at high frame rate but with the pixel motion blur it just softens things up a bit it doesn't make it go out of focus it just takes the pixels with the most motion and uh blurs them in the direction that they're moving so if you look closely it like her hair on her main or her tail it tends to soften it a bit her feet is they kick up from the sand that softened a bit even her face and her head bobs up and down but also noticed the fence posts in the background as I moved through just scrub we're through here there's a little softer so things like camera motion and uh and the objects that are in the most motion will soften up a bit so it gives it a little more of a film like look, this is a very subtle example but it will also be in the downloads so you'll be ableto see it for yourself but that's a very subtle example applied to just video so that's a really good uh really good up uh good advantage that you've added teo aftereffect cc so let me close this project up here and all right? So might be a good time if anybody has any questions on effects before we move into the next segment yeah, yeah, sure definitely I'm so big he actually asked if the effects like the snow and the rain if those could be applied teo photos as well? Oh, definitely yeah, you can apply those two any layer it could be applied uh, it could be applied to, uh, any layer actually, the thing is, with the particle effects, you have to put them on a solid on their own and then put them above uh, whatever you're going to put it over. So if you have a photo, excuse me a photo or video or animation or a sub com for anything like that and you want to apply particle effects to a layer above it? You want to create a solid layer that's going to sit above it for the effect to be applied too, because if he apply it directly to the layer, all of the content of the layer disappears. So you're just seeing the effect so you always want to add it to a layer above the later you're trying to put it over josie, wales with the snow effect is there a way to get it to accumulate on the ground? Um unfortunately not with this plug in I'm sure there are some others that have three d capabilities that will do that again it would probably just stack along the bottom of your screen if it was to accumulate so it wouldn't really look like in that example that I used you were looking at, you know, a broad range there so it's obviously not going to snow and then land on the ground there that would take some contain insane cg work. So another question about those weather effects kenneth keeper asks did he say the snow where rain particles in the back farther away from the point of view should move faster? Um should the ones perceived us further from the view move slower to create the illusion of three d debt? They're probably correct with snow, especially because snow has a specific arrayed so yeah, just the opposite of what I may have said in my talk I may have said I made the move faster. What I meant was I think I had them generate faster so the birth rate of those was a higher birthrate just so that I'd have more density but yeah, a ce faras depth of motion goes things farther away when they're moving at the same rate should be should be slower because you're looking at you know, perspectives. So the things that come in front of your face, um, are going to be, yeah, faster, because they're traveling a shorter distance. But something back there traveling the same rate would be moving slower. So they're they're correct. With that, yes.