Hey, what is up? Andrew Kramer here for videocopilot.net your after effects resource. This tutorial is a great one is very versatile and you go want to find it is very useful for a number of things to bring Demons back from the dead are tricky business. I can sure you and what you need to do is keep some candles a blanket a book of spells and possibly seem snacks just encase you do bring the Demons into the living world that might be hungry and you do not want them to eat you. So, bring some like through role up source in chase it is or we have line around because you do not want to be there is knock and where are you need to go is a graveyard. And you have to go at night it is really dark and new scare to go bring a friend because you never want to die alone, trust me. And you can go there you can go to try bringing the Demons into the living world that night and it is a lot of fun.

Now of course this is after effects, so forget all that staff well maybe not this next because this is the long one. Here is what we are creating? Alright so, of course we got Sam Loya here and he is of course half Demon as you can see and what were going to do is create a shut were we transform him and if you look here you can see his slowly mutates or morphs unto this monster.

Okay so, let us go ahead and get started. What I have is a composition of our friend Sam gives as a crazy face. This is rough footage by the way, so just encase you are wondering. And what I am going to do is motion track are footage the key to this effect is stabilizing the face. And when you are shooting, the key is to make sure that your actor stays square with the camera because when not doing 3D motion tracking only 2 the motion tracking. Also, another example of what you can do of this effect you would not believe this. Who said Demon soon up to look good? Now want we get this shut set up, you going to be I will to do a lot of things through the face like colorize it and sun glasses all that could stop maybe a 10 foil hot. So let us go and take a look again, what we going to do is motion track our shut.

So we go to the workspace for motion tracking or we go window tracker controls. And what we going to do stabilize the motion, if we clicks stabilize motion with the footage selected. We will open up in our viewer to begin tracking now we need to track the rotation as well as the position so. Will take track point number 1 and drag it over to the left eye. Track point number 2 to the right eye. What I like to do is use scale with that wide and then bring it back and that why do not have to just it twice. Same with this one and we want to get and little bit the eye brow and just the corner of the eye. Now that eye is a good place to track because the eyes do not really move once you get that on place and we can begin tracking so were come over to the tracker controls and analyze forward.

Okay so, that looks pretty good but if you need too, you can go and adjust this as needed on one solution to a bad track is to going to the middle of the footage and set at the track points and then analyze forward and then comeback after tracking can bring at back to were you started and then analyze backwards. And sometime the work is well because of where the reference point starts. Once we tracked were going to click applied. And it is go to applied to the X and Y. if I zoom out here you will see all the footage is now stabilize around his face. There is one problem all of the blackness come in around the ages and as it rotates and reposition to make sure that the stabilization is lock in.

So, what were going to do is working in a free compose this footage? So where it choose layer free compose move all attributes and will call this free camp face and choose okay. And if we alt double click into the camp, we can now make adjustments inside of here. What we want to do is increase the bounce of this composition. So, the composition settings and were going to change the weight and height to about 1705 that 950. And what is that going to do is allow room for this footage to kind a move around. Okay let us return to the original composition and what we going to do is use the tracking data to reverse what we have done. And that is eliminating the edges turning black.

Now here is the tricky part, what we want to do is bring this composition of above the first composition so that we can see both compositions. And they were going to come to the top composition hit you and that will bring up the tracking information that is been applied to the anchor point and rotation. Now, then if wee come down to our secondary camp and hit P shift are shift A. we bring up the anchor point position and rotation. And what we going to do are used the information from the original track data to reverse what it is done to the footage.

Now to do this is very simple but we do not understand what is happening so id I alt click on the position, I can pick with the anchor point of the track footage of the stabilize footage. And what that would do is essentially use all of this anchor point data for the new position of this layer. So, considered it reverse stabilization. Now we also need t o reverse the rotation because not only is the footage shaky but it is also shaky rotation wise as you can see it really rotates a purposely shut it shaky so that you could see how versatile this technique is. Now, for the rotation we want to alt click on the rotation stop watch pick it the rotation but if we let this go through were essentially adding rotation to something that are we has rotation. And we want to reverse the rotation.

So were going to add little expression to the end star or multiply time is negative 1. So, whatever they say times negative 1 there by reversing it. So, this is negative 4, this is plus 4. And so on negative 2, plus 2. And basically that reverses what is happening. Now, the position or the anchor point also needs to be adjusted and we can pick with the anchor point to the position to the opposite of the free count. And not will then bring the entire footage back to it is original state. That is a tricky part but I can sure you which actually 40 simple once you understand what is going on? And even if you do not understand just speak with the values like I have shown you here and your all set to go now. If I take the sunglasses from the original camp, bring with me to this camp now and play my footage back the sunglasses do not stay on the face, but if I parent this sunglasses to the footage it would then use all of the reverse position data to lock the sunglasses on to the footage.

Okay so, now we have the footage track and reverse track were can I add the liquefy filter from effect to start liquefy. Now the liquefy filter is actually very powerful accept not very useful when you have moving footage but because our footage is now track. So if we added distortion to his face, it will stay lock on his face. Now this is probably one of the coolest things I ever came across, and what you do is up the meaning tools there is one here that basically shrinks part of the image, so if we can zoom in here and we increase the brush size and the brush pressure. What I can do is hold down the mills on his nose and what it thus is shrinks the nose down right? Pretty were looking, I do not know it is funny. And if I run through the footage, you can see that his nose is staying shrunk down. And if I play this back seem like you right behind mean is looking everyone best. If I play this back, we have that distortion lock on through the face.

Now, if I work to apply this liquefy to with adjustment layer or none track and reverse track footage you when be able to this. If I type in liquefy and apply it to the adjustment layer, do the exact same thing. If I move around the distortion also move around, because the footage is only being distorted at that point, it does not realize of there is a person in and the shut, it just distorts the images base on that according in of the footage. So, that is no good and a lot of people see this is a big problem but if you could track and reverse track I do not saying that a lot but I really want you do not understand that concept is very powerful.

So we go back to our footage and turn on liquefy back on. You can see that the footage stays lock on to his knows being ranking down. Now, you can do a million things with this. Personally I like the idea of doing of crazy Demon face so in reset this and were going to take a look it someone of the tools. Well we have the first one which is sensually this mage tool and change the brush size and the brush pressure. You have to bring the pressure down, the distortion is soft and slightly on affected, but if we turn on the pressure up to close 200 you can really move pixels around. And even of this case watch this. I mean that stays lock on to this head because to the whole tracking business. I like this one for distorting eyes and remember told track in so whatever you can think to do, you can come up with some pretty cool effects in some interesting charters for your scary films, Demons, Zombies what we going to do is take this mage tool and if we hope control down you could scale down the brush size and we can zoom in here bring the brush pressure up and we should make some evil eyebrows. And just can drag is all apply.

And we can make a little larger and you hit control on the described let there right it can let you do that and will bring the middle of the size down here for a make it is nose larger and that with this to here does in we can large brushing we can hope as it all too much. Take the nose larger and maybe move the nose up and then walls stretch out the nose trills why not? And by the way such you tried but if you work on the area were you want to distortion to take place because that is were you wanted to make your adjustments. At this time may be able to share you the magic eraser and just kind of erase and that removes the distortion from an area. We can also check out what the distortion looks like using the view mesh and some other saying I mean, we will going to find this to be free powerful, but back to this mage tool. Let us creates some called distortion and maybe enlarge the mouth so looks can a crazy.

So that looks pretty good and we want to be all the key frame this on and off and the great thing about the liquefy is the distortion percent it you can bring it down to zero. Were up 200, are you can pass that but I recommended. And what we going to do is go to line this animation up to just before he turns on to the Demon, and turn the stop watch on it zero percent. And were the move forward, just a few frames there and change it to a hundred. And if we had you on the keyboard he can see the distortion happens just at that point of the time and he kind stops at the very end that we can do is then setting another key frame move forward and then turn it off. And that way he kind of turns on Demon and then shuts off. Real quick another cool tip is if you take the eraser tool, erase the distortion okay and anytime you can then adding is more distortion and guess what the automatically still key frame by the distortion percentage which make is very versatile for you to be able to say no and let me try something again. And then you can add some your own distortion and it bring the nose down, that the nose bigger, and not bigger.

Okay so, next step we want to colorize the face. So, and I create a new adjustment layer. Now the move to the middle of the animation were they distortion takes place and we going to draw a mask with the pinto around his face. And you can work on this are just to replay putting on how detail you want it and if you hit MM we can look at the mask properties you can feather weight maybe 10 and then if we choose affect color correction you and saturation, and affect color correction curves. And what we going to do is bring the saturation down and of course the adjustment layer you do planet takes do it and only affect of the layers beneath that, and were going to adds some contrast to the curves and say a couple of points and there we were go to the red channel and bring the curve down to add it little green or Demon green. Complain the bring it down and then add some like red to this give it some Demon contrast and when go apply to the blue channel whatever you like. Also we can expand them ask 5 pixels so that we can make sure to get all the edges around.

Now, this layer needs to be lock to our footage. So at the point in time when you drag the mask parented to the camp. And then it should stay on it for the good. Now, what you want to do is animated to fade out as the percentage of the distortion is fade it on using the liquefy filter. But the liquefy filter uses a percentage from zero to hundred just like opacity. So if we take the opacity of the adjustment layer alt click on it. we can pick with the distortion percentage then it will fade on as it distorts in. and that way you only have to be animate the distortion percentage and everything else will stay lock into it because were not just can a link this program and will we going to be have the link any other affects that we add to it. Now to perfect this even further what you can do is hit him and key frame the mask could shape and basically what you would do is move the points around the face move forward a little bit and then move the points again so that as the shut move you know there face rotates all that stop you will be sure to jeep any of the color inside of his face and not believe that on other things. And you have to do very open but if you just can I go through and make the slide the adjustments you can then we find this affect for that feature film composite. But for now I will just use the wrap composite as it is here.

Now, the next step is add shadows into his face to make it more evil can a like to be have a flash light you telling is caries stories. You want to make sure that the shadow is hoarse, so that the story is more fright and now always work on me when people told me stories. And make shows affect color correction curves and what we going to do should frame the darkness down. And then were going to take the pinto intro a mask around this scary part that we want to add shadows it so the eyes for one and can just draw shapes around the eyes using the pinto draws some more shapes and some more shapes. Then more we can do is feather this mask, so if we select the layer hit up. You can select all the feather hold and hold down shape and then increase the value for one will change it for all of them. So as you can see we add this nice shadow we affect.

So another we have done now, we want to parent our adjustment layer to the free camp that were the eyes should stay free close, and then what we want to do is hit tee and you for this layer and we want alt click on the opacity and we link it to the liquefy filter. And again, that we everything pay then at the same time. Now, you may not want disaffect to be 100%. What you can do is add a little expression at the end divided by 2. And that way if this value is a hundred little show appears 50 to go if it is 50 and will be 25 and basically fade in at half this speed. And that way you can control the percentage through the expressions without having to reanimate and every time with key frames because if you eliminate doing key frame should can really save some time.

Now, that is looking pretty good you know a probably make a little scary but that is pretty good for now. The other thing we can do is add a crazy texture to his face and what I am going to do is go over to my right dear affects. And by the way get all of questions how to get the right gear folder into my project will when we choose import select the folder and there is badness is import folder, you know import everything in there. So right gear available at videocopilot.net of course, now what I am going to do is go to grandee textures low resolution and the gray scale were going to use grandee map number 2 can a looks like some step to concrete but kind as some bane like features.

And what we going to do is bring this out to our camp and hit tee bring the opacity down little bit. And we want to actually change the transfer mode F4 and change it to over leg and maybe hard to see over leg. And you can see can a creates a cool texture on the face, so you can move it all around to were you think it my look good and want you do, you can then take the paint tool and draw around the face. Now you want to be careful about were you put this because on said area is not a look good. And when I recommend is doing the whole face and then adding more mask around the eyes, nose, and the mouth. And that we want to do is it MM so bring out all the mask that we just created and then reverse the second tool so subtract them and then what that all simply do is you say is all of this, they will reverse those fats and if we feather out. We can and I make the mask a little bit softer and am turn layers back on. These actually just make it look more like it is on the face. And the opacity is that 50% and were going then link this parent to our original layer like we do it all the additions to the face there we going to link the opacity to the liquefy filter alt click on the opacity take with pick and then add the little expression divided by 2 cause we want it to be the maximum value of 50. And that way fade on and then fade off.

What I am also we going to do is use add the final color correction layer new adjustment layer? Were just can a add curve adjustment. just over all darken the image. You can also add were your film magic crew presets in like it my green easy of course and that will just a make a footage looking eyes and can also this make an adjustment to make it a little bit darker. And there we have it crazy Demon face, of course you want to change your distortion take your eraser tool from the liquefy erase to distortion and you know you can this use the regular face, that is pretty scary alone if you ask me and you know we can make the nose small there is nothing funny of then a nose being ridiculously small and everything is our we still link in together and we do not have to make any other adjustments. And if you crap enough, you could actually probably add some things but you may want to track that separately so that it is stays on the face a little bit better. Okay well this looks really good but of course there is one last thing to do and we would want to forget this. Because as we know Demons look best wearing sunglasses, well hope you guys said it a fun time. I am Andrew Kramer and of course come check out the blog at videocopilot.net and do not forget to combined your products page are DVD or fantastic we have right here designer sound effects all this great tools to enhance your next project. And do not forget to leave a comment or you can post to link to your Demon videos, we want to see and met the videocopilot.net blog. I am Andrew Kramer and will see you next time.