Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
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.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
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.
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.
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.
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.
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.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
Learn how to transform daylight footage to night footage and how to add artificial lights and illuminate windows.
Tags:How to Transform Day to Night in After Effects,2d,2d animation,adding artificial lights in After Effects,ae,After Effects Lesson,after effects tutorial,cs3,digital animation,Tips for Using After Effects,transform daylight footage to night footage,Transforming Day to Night in After Effects,videocopilot,adobe,after effects,How to transform daylight footage to night footage
Grab video code:
Hey what’s up? Andrew Kramer here for videocopilot.net who talks like that. Alright, in this tutorial were going to take a look at some advanced day to night techniques. And were going to try to achieve some effects like this, here is the original footage—as you can se, it is day time.
Now, if you know you are going to be performing a day to night conversion—that is the DTNC, Day to Night Conversion or DNC. So if you know your going to be performing a DNC, then there are a couple things you want to think about while you are filming. One, try to film in the shade or film without direct sunlight, perhaps at dusk or behind a mountain, under a tree or something like that. And do not blow your footage out with the exposure, so make sure you set that to a manual exposure and bring it down a little bit more than you might normally.
Now, even if you do everything right. It is possible that your footage may still turn out to be carp, because sometimes it just does not look right, just does not look natural. But if you follow this technique, you might be able to get something that looks pretty good. Now you probably notice that I said carp instead of crap and the reason why is not to be polite although it works out that way. But, has anyone ever seen a carp? Okay it is huge fish, it is a bottom feeding fish, I mean look at this thing and that is why you say “Holy Carp, holy carp that men.”
Anyway back to it, here we have a truck and what we are going to do is get the process underway. So with the footage selected, I want to choose effect color correction, hue and saturation, and effect color correction, curves. And what we going to do is to bring the saturation down just a little bit. Now, when there is no light and there is no color, so you want to bring the color down just a little bit. Now continue footage blue was more anecdotal but it does help to sound effect, so were going to head and do it. But first were going to crush the whites by bringing this top point of the curves adjustment down for the RGB, then adding a nice contrast curve like that.
And then we go to the red channel, and we will bring the red channel down, which going to add a little green and then we can go to the blue channel and bring it up which adds a little blue, you can also bring this up too and that kind adds a little more blue to the sky, so, first step that is it. And we can come back and adjust this a little bit more, a little bit later.
But first, let us duplicate our footage and what were going to do now is where going to bring this even darker. Instead of focusing on the overall image, we are going to use this second instance to focus on the top sky. Make sure your hue and saturation and curves are reset for the second copy. And again were going to crush the colors all the way down, crushing good. And there we are going to take out hue and saturation and bring it beneath our curves adjustment. And we are going to turn on the color rise and we are going to spin this around till it is blue, maybe bring the saturation up just the bit and play with the contrast a little bit here. Remember, we are only focusing on the horizon or the sky line. And let me go ahead and increase this saturation just a little bit.
Okay now, everything else looks pretty bad but this top line looks pretty good. So, what were going to do is take the second layer, grab the rectangular mask tool and I will draw a large mask across the top half of the footage. And just make sure you extended out because we are going to feather it. I do not want the edges to come in and if you hit F, that will bring up the feathering option here. And this is really good way to just add sort of a --