We are going to place it so that it starts here, alright. Okay we need it turned into a 3D layer as well. And we obviously need to key it out so go to effects, key light, okay, key out the background. So if we just we have this forge, you cannot see it all because it is behind the explosion because obviously it is 3D layer now. So what we need to do to change this so that it appears is to open up the Transform, go to the first key frame or near enough the first key frame. Set their positions, stop watch, go for the few key frames and move it so it comes out just over the explosion, what we want to do is move that up to few more key frames, so it will just appear over the explosion.

And so the fragments are flying out towards the camera, right, that is done. As soon as the second explosion kicks off again, so basically this is Maximum Explosion Power whatever you want to call it. We are going to add another day break, but this one is slightly slower in frames per second so basically the daybreak flies out a little bit slower as set on the screen for a longer time. So if you put this on here, okay, start around about here, do the same thing, effect, key in, key light, take out with green. And again this needs to be a 3D layer so if we just going to put that behind the explosion, put out the transform, set up the position key, key frame, at four to three frames to about there and bring it out. So it just appears just over the front of the explosion. Now that should spill out in front of the camera quite nicely, yes, that is looking quite good, right.

Now that we have got our explosion covered we need to sort out a few some minor details to make it look a little bit better. Go to the key frame just as the explosion starts to happen, that is around about there and we have our blue shockwave file. Now if you move that into the time line and reposition it so that it start just as the explosion starts. Okay, press F4, transfer mode to add, alright, now we can see for it, now position it right in the center of the explosions just as the explosions starts and open up the transform properties and we need to scale this write up so we that we can fix the screen, once it goes over the screen, alright, okay.

Go for the few key frames you will see this big blue shockwave up here, but we are not going to keep it blue, so if we go up to effects, color correction, hue saturation, and the master saturation selection move it right down to zero, so it now completely grey, alright. Now with the opacity, we move it down, so it is 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. Looking really, really good.

Now press F4 again, you want to set what our motion blur for all the files except for—actually no, except for the stars and except for the spaceship and turn motion blur on the composition, alright. So basically we have our explosion and it is looking really quite good. Finally this is what we do now is we make a new composition, okay, just keep the settings. Go to Project 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 crashed down into one file.