Hey everyone.
Kelsey here.
And welcome back to Gal and today
I'm going to show you how to do this
really funny flick challenge.
You can flick away
anything you're problems, your friend,
your partner, and it's a continuous loop.
So they will be flicked forever Forever.
on Instagram.
So I first discovered this effect
from Peter Quinn.
He created
hashtag flick challenge
and he actually showed how to do it.
And After Effects,
he did a quick little Instagram video,
and I thought I would take the challenge
to try to do this
in Premiere Pro alone
without any after effects.
So you can follow along with this video.
And once you're done,
you can upload it to Instagram or TikTok
and you can tag it with Flick Challenge
as well as Tag Me.
All right.
Now, I need to show you
first
what you need to film
before we go into Premiere Pro.
All right.
To create this effect,
you need to film
four different shots on Tripod.
The first one is when you throw yourself
against the object,
whether it be the tree trunk or a wall,
and then you get up
and run towards the camera.
I recommend placing an object
or a marker on the ground
that lets the actor know or yourself
that this is the point
where your feet are no longer
visible in the frame.
So we just put some sticks down.
And I just did
a couple of different takes
until I got it right.
Number two is
capturing your in-flight pose.
So all you have to do for
this is just jump up
like you're getting flicked
back in the air.
So try to jump up and get both
feet off the ground
and kind of raise your hands
like you're getting thrown back.
And you'll have to do this
a couple of times.
And essentially in post,
we're just going to crop myself
out in Photoshop
and this will be the in-flight pose
that we're going to animate back.
Third, we just need a clean plate.
So just film about 20 seconds
or so of the background that we can
then use when we are doing the animation.
And lastly,
we need to film the flick in hand
in front of a green screen.
Now I recommend doing this
in the same location.
Just bring a fabric green cloth
or bring a green piece of paper,
a large one.
Have your hand
come up
one frame flick
and then pull it back out of frame.
And I recommend doing this on set
because then
it will have the same lighting
and it will look more natural
when we composited it in Premiere Pro.
So before we jump into Premiere Pro,
I want to thank Envato Elements
for sponsoring today's video.
You can get 70% off your first month,
and let me tell you,
it has everything you need as a creator
from sound effects
which I will show you
how to add to the scene
to make it more realistic later on.
It also has music, some cool music tracks
and unlimited templates
for Premiere Pro
after effects, even final cut
and Davinci resolve.
I'll tell you more about them later on.
For now, let's
go ahead and jump in to Premiere.
So the first thing
we need to do is decide
where do we want this video to begin?
We don't want it to start with me falling
because that happens after the flick.
So we want it to be
somewhere around here
when I'm running towards the spot again.
So if we want it to be here, for example,
we can set a marker point by pressing M,
so that will indicate
this is the part that we want it to start
and end at the same time,
and I'll show you how to create that.
So now we need to find the moment
that I'm going to be flicked in.
It's going to be right around here.
Cut and just delete the excess here
because I'm just running off the frame.
Then go to the point
where I'm thrown against the wall
or the tree and make a cut, Press C
and then cut.
In this part here
where I'm preparing
to throw myself against the tree trunk,
we can just delete suppressed delete.
And then this looping point here,
we can create a cut
if you want to go directly
to a marker point,
a shift m and we'll take you right there
and we can press C and cut at this point.
Now we can take this part here
where I throw myself against it
and bring it over here.
So now we have the beginning part
where I'm running
a blank space,
which is where
we're going to put our blank slate,
which is just nothing
And then the in-flight clothes
and the flicking green screen hand,
and then it cuts to me
falling against the tree trunk
then going to this marker point,
which we have right
here is the loop point.
So press shift to go right there.
Roll the clip back and it ends there.
Press this loop playback.
You will see that as we play it back.
We're going to fix that part here.
It's just going
to loop back to that same moment.
So we have the loop.
Okay.
Now let's add the blink.
Split, split.
So now let's add in the clean plate
and you can see
I've already labeled it here.
Right after I ran off screen,
there was a moment of nothing happening.
And the reason why I chose this moment
is it occurred
right after we shot the part
where I threw myself against the tree.
So the lighting is as close as possible
to that moment.
So it's not going to look as different.
So you can see that
I created an in and out point.
You can press I for an endpoint and scrub
to the out point and press. Oh.
And so now we can just click and drag
and drop the segment
in between these two clips and roll it in
so it fits.
Now you can see
this was shot in a six by nine.
And this clip
I actually scaled up to fit the frame.
So what I'm going to do is just copy
the attributes from this clip
command, see to copy.
And then on this clip, I'm
going to control
click or right click and paste attributes
and paste the motion,
the scale and the position.
So it'll be in the exact
same places here.
So now we need to add
the green screen flick
and then we will add the in-flight pose
to know at this moment we want the flick.
So go back to the product panel.
I already identified
the flick moment here. The flick.
I'm going to take this clip and drag
and drop it on this moment here.
And the first thing we need to do
is get rid of the green screen.
So go to effects and search
for ultra
key and drag and drop it on the clip.
Then from effect controls,
we need to choose the key color.
So select the dropper
and just choose an area on here.
And you can see
when we go to Alpha Channel,
it still needs a lot of work
We want the background
to be completely black
and we want the foreground,
the hand to be completely white.
So what I do to make it easier
is just change it from default.
To aggressive.
So aggressive will
make it a much better key,
but there's still a little bit of work
we can do.
So underneath
my generation
here, we can reduce the shadows.
So this is looking a lot better.
And you'll notice
that the key
is taking out the face of my watch.
If you are filming in
front of a green screen
I recommend taking off a watch
because the reflection
will add some green in the face,
which will actually take out
part of the watch.
And there's nothing really
that we can do about that.
But don't worry,
because this hand
is actually going to be cut,
so you don't actually see the watch.
Once we scale it up,
so what we can do is go back to composite
and you can see part of the watch is out,
but that's okay
because we're going to scale this up
and move it off frame.
All right.
So the best way to line
it up is to on this clip of the flick,
mark the flick.
So right here is when the flick happens.
So we can press M
to create a marker on this clip.
And that way we can
then go here to this point
and move that marker
to be in line with this cut point.
And I need to extend this clip out
until the hand goes off frame.
We'll be able to refine this a little bit
more once
we add in the frozen in-flight pose.
So from project I've marked here
on this clip, this one had the best take.
I put a marker at this point
saying Oh, I like this still frame.
And what I did was
I just press this little icon here export
frame, and I exported it as a still
a hit. Okay.
And then in Photoshop
and from the toolbar,
I selected Click Selection Tool
and then Select Subject.
This is a new feature in Premiere Pro,
and it will just select the subject
and you can just press Command J
to cut out that layer,
which is what I did.
So then I saved it
as a SD with transparency,
and I imported that in Premiere Pro.
You can see from my product panel
here, we can just drag
and drop this into our timeline
And we can bring the green screen flick
on top
and bring down these layers
to video layer two and three.
So now we need to line up the transparent
Photoshop layer
with this last position
before I fly back.
So click on the SD file.
And here
underneath effect controls,
we can scale it up and line it up.
So it's in position here.
So once it's in place,
we can roll the SD layer
to meet this cut point
So now it goes from you
running to the in-flight pose.
We can cut the SD file here
and now we have to match it
to the same position and scale as me,
you know, flying against the tree
trunk at the end.
So to do that,
we need to do some key framing.
So let's go back
to the beginning of the SD, and here
we're going to create
a toggle animation on the position,
scale and rotation as the start point
and then we can go
over here to the end point
and we can scale it down
and change the position to
match my final pose here
So now when we play
it back,
you know,
it's almost there,
but it's just too slow of motion.
First,
we need to speed it up
and we need to play with curved
motion as well.
So what we can do
is just take these and keyframes here
from effect controls and bring it in
until we can see
that's a little bit too fast.
So maybe here,
let's bring it over
So that's a better
and then we can go into the timeline
and press
and cut the clean slate
as well as the fly SD and let's delete
that and then delete the space between.
And so now it's faster.
Now we need to go in
and adjust the curve of the scale
on the position.
Right click on these key frames
or control
click on the end keyframes
and change it to ease in.
And then when we open up
the velocity here,
we can see that it starts up faster.
You can look at the velocity number
and then it gets slower over time,
which is what we want
because that's
a natural motion of a flick.
It'll start out fast
and then we'll start to go down and speed
Nice.
It's almost there.
It's supposed to be kind
of a funny effect, right?
Another thing that we can do is
we can add a gaussian blur to the fly
so we can go to effects
and search for cars and blur and drag
and drop this onto the SD clip.
So create a start keyframe.
And from the initial impact,
let's bring this up to around six.
So it's a little bit more blurry.
And then at the very end,
we want the blur to go away.
So create another keyframe and then let's
bring it back down
to like one blurriness.
And this is what it looks like
All right.
To bring it all together,
let's add a color
grid over everything
and a slight camera shake preset
to make it look more natural.
So we're going to click Lasso and select
everything here.
Control Click or right
click and select nest.
And then we can call this flick Nest.
And now it's one layer.
Oh, boy. We got the dogs.
Got the dog.
Pull up their dog.
Go to whoop, whoop.
All right,
so now that it's nested, now
we're going to add a camera shake
to make it
look more natural,
like somebody just holding up their phone
and filming this on the spot.
So I have this really cool preset.
If you want access to this preset,
you can become a patron
and get this particular preset for free.
But underneath Medium,
if we just drag
and drop medium
preset on this nest
now and we play it back, it just
has this nice camera wobble throughout.
So it looks more natural
like somebody was just filming it
and all this preset
did was add this transform effect,
a bunch of position
controls throughout like a slight wiggle.
One last thing we can do
is go to Lumetri color.
We can go to creative and play around
with some of these color filters.
This is it before and then after.
It just adds a little bit
more contrast and vibrancy.
And this is the final effect.
The last thing that we can do is add
some sound effects from Envato elements.
For example,
to get the flick sound effect.
I went into sound effects
and actually search for fly swat.
I couldn't
actually find a flick
sound effects,
so I just search for a paper slap
and I chose one that sounded the best.
And then I downloaded it
and I also, for the body, hit the impact.
I downloaded another sound effect
body punch.
So I searched for punch
and I found this body
punch sound effects,
and I just lined it up with the impact.
And then I search for some quirky music
and sound effects, and I added it.
So I kept in the original sound
from the camera
when I was running at it
and some birds chirping
this quirky soundtrack
and the sound effects from elements.
And this is the final effect
So thanks so much to
Peter Quinn
for coming up with this concept.
It is hilarious.
I want to see what you guys create,
so please
be sure to upload to Instagram or TikTok
and leave the hashtag Flick
Challenge as well as Tag Me.
Thanks so much to Elements
for sponsoring today's video.
Don't forget to check out elements
in addition to their sound effects.
They have a ton of great templates
that you can use to really spice up
your video.
I know it's helped me
with all of my edits on YouTube.
That's all for today's video.
You can click
right over here to watch more video
tips on the channel.
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And as always,
keep creating better video with Gal.
See you next time. By.e