so let's create this so I have prepared two files for you so you can follow along with this tutorial
and the coolest thing is that this is entirely created in Adobe After Effects without the need
of any third party plugins so let's get into it in Adobe After Effects I'm going to drag and drop
my footage into the project manager and then I'm going to drag drop this into a new composition
I'm going to fit it up to 100% And I can see in the playback what I'm doing here and then
next we can import a 3D model and this is huge for Adobe After Effects it's a pretty recent release
which is super awesome and gives you Endless Possibilities without the need of any external
plugins so importing your 3D model is as simple as just drag and dropping it into the project manager
so I'm going to leave my 3D model here for now we need it later the first first thing that we need
to do is actually trick my hand so I'm going to a place where I want the claws to stick out because
I'm not going to be using them from the beginning I actually want them to be animated on so when I
close my hand I imagine that here I'm going to be closing and then uh yeah revealing these claws so
I'm going to duplicate my layer by going to edit and duplicate then I'm going to trim it
until where it starts and then go forward and then I'm going to trim the end of this footage so next
what I want to do is just track this part what I will do is isolate my hand because I just want the
tracking data of my hand otherwise the 3D camera tricker is going to try and look at my scene and
try to make a 3D map of my scene I don't want that so to isolate my hand I'm just going to solo this
layer by clicking here and then double clicking on this layer that will isolate my layer into a
new window as you can see right here it says layer I'm going to choose the rotor brush 3.0
so I'm just going to select my hand and I'm going to draw something like this at the beginning of my
clip and just clean it up a little bit until you're satisfied you only have your hand and
nothing else also make sure that you're working in Full Resolution this does make a difference
for your Roto so if you're working in quarter just change it to full while you're doing the Roto it's
making a difference and so I'm just going to hit the space bar Let It Go through the entire clip
and then I should have an isolation of my hand which can get us to the tracking part so while
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in the meantime our hand is isolated and we can continue to the tracking part after reviewing my
shot and considering everything done I'm going to hit the freeze button here which is going
to freeze this Roto and make sure that everything runs a lot smoother as it stops calculating in the
background hey it's me editor before continuing this video I wanted to inform you that we had
some issues getting consistent track of his hand so keeping that in mind we decided to track the
whole arm as you can see right here to give you the best possible result you can try with only
the hand or continue directly with the whole arm if you are having issues with the tracking tool
all of the techniques shown are the exact same with both selected areas so don't panic when
the footage changes to the whole arm layer in the video all right so now go back to your composition
Tab and we can see that we have um yeah our hand floating around now what I want to do is click on
this footage go to layer and click precompose here make sure that you select move all the attributes
to a new composition rename it to Wolverine hand and we're going to adjust composition duration
to the time span of the selected layer as well click okay now we need to do one more thing in the
background that's being tracking so we're going to add a track so we're going over to the track tab
if you don't see that you can go over to window tracker and open that up and as you can see we
have a lot of options here so I'm going to choose the track camera and just let us do it thing if it
doesn't give you a perfect track what you can try is open the advaned step and just check detailed
analysis right here but I found that it's good to try it out in a regular way first if this doesn't
work go over to the detailed because I've also found moments when the detailed didn't work and
the regular worked or the other way around so yeah if you end up creating something with this
tutorial I would love to see it so if you post it on Instagram or any other social media do tag me
at Inus la yeah if you don't see the tracking points it's possible that the track uh failed
or you just have to increase the point size here if there are points that you say they shouldn't
be in the track you can simply select them and delete them and like for example right here we
delete this one and as you can see we have this big cross here so obviously something is going
wrong and this is how we optimize our track so do this a few times until you see like all the
points kind of look in a similar SI nice this is starting to look okay uh for example these
big ones we can still go ahead and delete those because that doesn't make any sense it seems
like they're in a different distance while in reality everything is kind of in a similar
distance okay so um we have our tracking data I'm going to select these points now and right click
create solid and camera that's going to create a solid if the solid is not oriented in the correct
way you can simply just rotate this uh and still it does and you can also add a grid effect to this
this is just reference we don't really need it it's just to see if your track worked or not so
if we're going to play this back uh we should see pretty solid track and now it's time to
add our class so as I said we can now import this directly in Adobe After Effects if it's a glb or
obj file the fun thing with the glb file is that you can include the textures so I'm just going
to drag and drop this in into a new composition and make the comp size just click this button and
then click okay and now you should see them right here so this is a 3D layer what I will do is press
p on the keyboard for the track solid that is the position where U my hand is supposed to be and I'm
going to click on the position and hold control and press C to copy the data of the position
then go to the Wolverine class and press p on the keyboard and click on the position and now we're
going to hold control and press V to paste all this data and now we can see that our claws are
on my hand obviously um they're too small so I'm going to hold shift and hold it in the corner and
while holding shift we're just going to scale it up to make more sense according to my hand size
then I'm just going to rotate it into place so now we have these uh Claws and you can see they're
perfectly tracked we can actually just make the solid here of the grid invisible so we don't see
that I'm also going to unsolo everything so we can see it on our final uh look and we can also
move it forward a little bit maybe scale it even more that's going to be up to you until you like
it and we can see that the track is really working out for us so that's really cool and this is all
within After Effects which is insane these are my claws but now we need to animate these on so to
do that we're going to do is click on my uh claw press spe on the keyboard and create a stopwatch
then I'm going two frames back just very quickly and we're going to then position this something
like this so it actually looks like it's going in a straight movement looking good and then maybe
a little bit later when you think you're done I'm actually going to reposition this a little
bit because I see it's kind of slipping a little bit or maybe it's just because it's not perfectly
positioned looks great now again two frames and then we're going to take this out so we're just
is going to position this like this and now there is one last thing that we need to do that's to
duplicate our original footage and then bring it on top and here I'm going to add mocha AE
uh for the people that don't know what I'm doing right here and this is console effects from Video
Copilot it's completely for free and it just um basically is the effects presets right here but
it's just way faster to work at it it's exactly the same thing so if you don't have it don't
worry about it but I would recommend it though so we're going to click on Mocha make sure that
you're working in Full Resolution again and then go open up by clicking on the logo and we're going
to create a mask of our hands where we want the uh Wolverine claw to come out so I'm going to click
on the xline tool here and I'm going to create something like this so I want them to come out
out of the top of my Knuckles so maybe something like this should work and then I'm going to hold
contrl a just point these in a little bit that's going to round these Corners it's going to make
it look a little bit better once you're satisfied uh we can track backwards and forwards depending
on where you started so you will see that this does a pretty decent job at tracking okay so the
tracking is done I'm just going at the last frame and readjust the mask a little bit just to make
sure it looks nice and neat um that's going to create another key frame everything looks good
now so one thing I want to do before we close this is to create another xline so click on the
xline again and make a bigger Square now like this and this is not going to be used for treking so
we're just going to toggle off the gear icon here that's um basically telling it to take data from
your um footage we're not going to do that we're just going to make it a little bit bigger and I'm
going to link it to layer one which basically means that it's going to use that tracking data
and it's going to follow along the reason why I'm doing that is to cover up the Wolverine claws so
now we are done and we can save this and we can open up the Met here and then create AE masks
that's going to create masks from whatever we did in mocha now we can press F on the keyboard and
here on the first mask maybe set it to like five so we have a little bit of fettering going on so
it looks nice and clean you can also animate the rotation a little bit because sometimes
it might not be perfect so then in that case just uh click on the stopwatch for the orientation and
go through your timeline if you want it to be rotated just a little angle like more or less
uh you can do it that way so then what I want to do is uh select my camera and select my 3D object
and then go to layer precompose this 3D clause and now we will be able to add some effects to
it if you want to so I'm going to add a fast box blur just increase it that way it's not
perfectly Sharp just like my hand we can also add an exposure to it if you want to brighten it up a
little bit something like this and if you want you can also add curves to it and maybe cor grade it a
little bit for example my scene is more on the reddish uh reddish uh tint so I'm going to add
a little bit of red in here that's just going to match it a little bit better with my scene I
think the only thing I don't like is that you are actually covering it up with your actual
video so what I will also do is just parent it to this footage and then I'm going to invert
it so it's actually looking at the footage but it's transparent so it's just literally using
the clip above it to cut out this part right here and that's just a cleaner way of working
in my opinion and then the last thing that you can do is uh remove your actual points here um
to do that I actually went to the footage where I tracked my hand and I'm going to open this up
and in this case I'm not going to create a big square but I'm just going to create circles um
around my points here so I'm just going to zoom in and then create like something like this and
then hold control right click crl a and make a nice circle make sure it's in the middle of
this point and repeat the [Music] process so now that we have all of these I'm just going
to select all of them and again we don't need to track here we just need to add it to the first
link of our layer one um which already has the tracking data so I'm going to close this again
and this time I'm going to click on create masks again but I'm going to delete all of the masks
that we don't need on this layer so I'm going to select all of these while holding shift that's
going to select all of these circles just look at the reference color well actually these should be
deleted after so I'm going to hold control and press X to cut them away this time time and now
I'm going to create a new adjustment layer blur but before we paste it make sure that you're at
the beginning of your timeline and then paste it now we have something like this and all we have
to do is now add a blur and if we're going to increase the blur until we don't see the
points press F on the keyboard select all of your layers and increase a little bit of fed
so we don't see an obvious seam and after all of this that should bring us to this final result
[Music]
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