Introduction to VFX Toolbox

For this module we were greeted with a brief introduction on how we will be starting to use the soft wear after effects. In this lesson we had a look at the tools and had a play around with shapes and title sequences to get a feel of what we shall be doing later on in the course.

Working with Alphas, Layers and Masks

This is a further introduction to After Effects, we start off by using these original images.

To make the cards appear in the photo we start off by making a composition and opening both files to make both original images into frame.

Next I was able to make the cards spin we select cards – transform – rotation

Next we take a little look at how to black out the cards with a little light shining through we do this by clicking effect – colour correction – hue 0 colour

– curves

– brightness 45 & contrast 100

After that we then select James Bond and go to track maps – luma matte inverted – layer – new – solid – scale – rotation

Select cards turn off tracking maps -combine cards and new layer

Next we looked at this skull image and a different picture of James Bond.

Once again we bring these images into after effects we start by selecting the pen tool to cut out the white background of the skull once this was done I then tried to scale up the skull in ratio to James Bond.

After that, we play around with the opacity and try to make images look more bendable

After that we added in a fire for dramatic effect

Keying Green Screen Plates

In this lesson we were given original green screen clips of news reporters and added backgrounds into frame.

Steps

-Effect – keying – colour key – keying – linear colour key

– I also used the picker to go over some pieces

– I then adjusted the white & blackness

-Lastly, I imported the background into frame

Lights Cameras and Green Screening

In this lesson we used a green screen to film our own James Bond and acting stunts, with the intention of keying the clips after. This was achieved by planning our mini routines, setting up the camera in frame harmoniously, pressing record/ stop and also doing re-takes where we felt necessary. This wouldn’t of been achievable without effective team work and communication.

Keying Green Screen Plates

Steps

Import files into after effects
Effect -keying- colour key
Select green colour
Apply linear colour key to adjust softness
Next, effect – keying – key light
select green screen – switch view matte
Adjust clip whiteness to make actors solid
Screen gain/ balance – to harmonise lighting
Make silhouette – actors black by pressing fill,
Played around with the opacity in matte
To make the circles I selected the ellipse tool
Pressed ctrl d to duplicate once happy with size
Then changed colour to blue
I then had to scale up my actors into proportion

Tracking in After Effects

Steps

Import file
Window – Tracker
Tracker motion
Apply
Anchor point

Steps

Duplicate clip – Ctrl d
Hide one clip
Select pen tool to carve out face
Select face layer – track face
Blur
Steps
Import fire
I then go to Window – Tracker -Track Camera
I selcet the tracker points on tree
Right click – Create Solid
Turn off solid layer
Place fire where i put the tracker points and then scale it down
I also change the brighneas & contrast, as well as glow to make it blend more into the enviorment
Steps
Duplicate clip – Ctrl d
Select pen tool to carve out sign on the wall
Re- select layer
Tracker – Perspective
Click on Mask – Subtract
I then press Window – Content-Aware fill –
Change fill method to Surface then Generate Fill Layer
I then do this for the clock aswell

Part 2

Steps

-Window

-Track Camera

-Selected tracking points then Clicked T to add – 🙂

-Downloaded an image/poster from google

-I made the poster 3D by clicking the cube

-Then put it in overlay mode

Steps

Window – Tracker – Track Camera
Selected Tacking points in which I right clicked to get a solid
I then downloaded posters from google and placed them over the points
made sure posters were 3D by selecting the cube
I then scaled and rotated till happy

Practical Introduction to 3D Features in After Effects

Steps

I start off by making a composition and selecting the Preset to – HDTV 1080 25
I then select Layer – New Layer – Solid
Change colour to white and then make it smaller
I click the cube to make it 3D
I make the Rotation x settings to 0X-90.0 and put shape to act as a floor
Scale it to satisfied
Create another layer and place it behind shape one and make sure to put it into 3d
I again scale shape 2 until satisfised
I then select the T tool to write some text in which i hose my name
Make text 3D by clicking the cube again
On the floor plan layer i click Effect – Generate -Grid
Change grid colour to black
Adjust boarder
I know introduce a camera by going to Layer – New layer – Camera
Put camera t one nose
Change view to camera
Position and rotate camera
New Layer – Light
Spot light -Transform – Position
Adjust intensity
Cast Shadows
I then decide to animate clip

Assignment 1 – Showreel

Maya Render Passes, AOVs, EXR export and Compositing these Elements in After Effects

Maya Render Passes & AOVs

In Autodesk Maya, Render Passes and AOVs (Arbitrary Output Variables) are separate image layers exported from a render. Instead of rendering one final beauty image, you can output individual lighting and material components such as:

Diffuse
Specular
Shadows
Reflection
Ambient Occlusion
Z-Deptg

AOVs are commonly used with Arnold because they give compositors more control after rendering without needing to re-render the full scene.

EXR Export

These passes are exported

The results of using a Multi-Channel EXR equals AOVs to be stored in a single file, making compositing workflows cleaner and more efficient.

Typical workflow in Maya:

Enable AOVs in Arnold Render Settings
Add desired passes
Set output format to EXR
Render sequence or frames

Compositing in After Effects

In Adobe After Effects, EXR files can be imported and separated into layers using plugins such as:

Tractor

Compositors combine passes using blending modes:

Add → lighting/specular
Multiply → shadows/AO
Screen → glow/reflections

Outcomes:

Adjust lighting intensity
Change color grading
Add depth fog using Z-depth
Enhance reflections and highlights
Create cinematic effects without re-rendering

The main advantage is flexibility and faster iteration during post-production.

Part 2

In continuation to last lesson we started off by rendering this original image in Maya and adjusting the rendering settings to see the different qualities of the image.

Camera 3

Camera 6

Camera 3

Diffuse 9

Camera 3

Diffuse 2

Specular 5

-In Render Settings I then arbitrary output variables so i then select AOV’s and add AOV , Specular and Indirect.

-Add Custom and name it AO

-Select AOV Note

-Custom AOV – where Shader is I click on chequered square

-Shader – arbitrary includer

AOV Specular Indirect

After that i render everything into After Effects
Duplicate AOV’S by clicking Ctrl d
Selecting the ExtractoR effect and dragging it on to layer we also duplicated layers and added multiply and add to them for different effects

Modal Village

Orginal Image

Ambient Occlusion

Final Image

Introduction to Dynamics

In this lesson we learned that Dynamics refers to programming objects etc in a natural way. If a ball in real life was to roll at a high speed into a brick wall the brick wall would fall down because of gravity. In Maya we learnt how to recreate this in a natural way we started off by downloading basic shapes and building a wall. Once that was set up it was trial and error to find the right angle, once found collision was made.