Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Learn how to create a space explosion in Adobe After Effects. Part 2 of 4
Tags:After Effects Tutorial - Making a Space Explosion,adobe,after,edit,editing,effects,explosion,How to Create a Space Explosion in After Effects,universe,video,videofx
Grab video code:
Of course we have explosion debris. Now, if I just move these into the timeline or to composition rather. Just as the first explosion kicks off, say about there, we are going to place it so that it starts here, carrying it to the 3D layer as well. We obviously need to key it out. So go to effects, key lights, key up the background. So if we just move this forward, you cannot see at all because it is behind the explosion because obviously, it is a 3D layer now.
So, what we need to do to change this so that it appears is open up the “transform”, go to the first key frame or near enough the first key frame, just like that position. Stop watch, go forward a few key frames and move it so it comes out just as the explosion. What we are going to do is move that up to a few more key frames, so it will just appear over the explosion. And so the fragment is flowing out towards the camera. That is done.
Now, as soon as the second explosion kicks off again—basically this is maximum explosion power, whatever you want to call it—we are going to add another debris. This one is slightly slower in frames per second so basically, the debris flies out a little bit slower, so it is on the screen for a longer time.
So if you put this one here, we will start it right about here. Do the same thing. Effects, keying key lights, take out the green and again, this is a 3D layer so you are just going to put that behind the explosion. We put “transform”, set the position key frame, forward a few frames to about there, and bring it out. So it appears just over the front of the explosion. Okay?
Now, this should spill out in front of the camera quite nicely. It is looking quite good. Now that we have got our explosion covered, we need to sort a few minor details to make it look a little bit better.
So go into the key frame just as the explosion starts to happen, so it is right about there. We have our blue shockwave foil. Now if we move that into the timeline and we position it so that it starts just as the explosion starts. Okay, press F4, transfer mode to add, now we can see for it.
Now, position it right in the center of the explosion as the explosion starts and open up the transform properties, and we need to scale this right up so it fits the screen. Let us go over to the screen. Go forward a few key frames. You will see this big, blue shockwave appear but we are not going to keep it blue. So, if we will go up to effects, color-correction, hue saturation—and most of the saturation selection, move it right down to zero, so that is completely gray, alright?
Now, with the opacity, we move it down at about 75, so it is basically a see-through layer. And what we will get is like a shockwave just as the explosion kicks in. Okay, it is looking really, really, good. And then press F4 again. We want to set a motion blur for all the files, except for the stars and except for the spaceship, and turn motion blur on the composition.
So basically, we have our explosion and it is looking really quite good. Finally, what we do now is we make a new composition, skip the settings, go to projects, and then what we do is get our comp one and move it into the time line. So basically, we have got all of the layers crushed down into one file. So, what we have to do is add a camera shake. It is basically the intensity of the explosion so powerful that it is causing the camera to violently shake.