Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Journey to the Draft is an organic, unscripted, docu-series that follows three college football players, all with promising professional careers. These young men attend different schools across the country and play a variety of positions on the field, but at the end of the day they share one goal:to play in the NFL. The AOL docu-series follows players Leonard Williams, Kevin White and Marcus Peters.
Connected features the personal stories of six New Yorkers woven together into one of the most intimate series ever. This groundbreaking show changes the nature of storytelling by giving each character a camera to document their lives. The result is a unique format revealing as different as everyone appears to be, we are all universally Connected.
Wake up to your world in 2 minutes.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
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.
Learn how to use After Effects in order to create an explosion in space, no one can hear you scream. Part 2 in this After ...
Effects tutorial from VideoFX.
Tags:How to Do Space Explosions in After Effects,edit,editing,universe,video,videofx
Grab video code:
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.