oh hey, you didn't see me there. today I'm gonna teach you how to be invisible okay guys if you're like me
you don't long like a long tutorial so let's get into the basics really quickly
so first things we want to do is import our two video files now we need two
video files one with the subject in it and then one that is a clean plate so
you can do this one or two ways you can either be out of the shot at the very
beginning and then walk in or you can just which is easier just film a
separate one of just the background now it's important that you make sure that
the background is exactly the same when you do this okay so we'll open it up
first we'll take the background layer drop that into our composite and then
let's go rename that to be just the background layer okay now the second
thing we're going to want to do is to duplicate that so you can do control C
and then V and then BAM it's in there now let's go and rename that layer to be
the F X layer okay now it's important that we have that in there okay next
we're gonna get the one with a subject which this time it is me and we're gonna
drop that right on the top we want that to be the top layer now I'm gonna move
we're gonna scrub through this and then move it to a section that I want to
start from so I'm gonna move in through here I kind of did a few things just to
see what I wanted to add the effect to afterward and then I think I'll start
from here okay and then I'll scrub through a little bit and then check and
see where I want the effect to end and how about here
just drop that in this is gonna vary from project to project so this is all
dependent on how you want that to go but it's important to select how much you
want to affect okay so that's pretty much it so we've got about five and a
half seconds or so five and a quarter seconds of footage to work with okay and
the next thing that you want to do is to create a mask or you want to you want to
key out the foreground layer for example I want to be invisible so only I want to
be selective so there's a few ways to do that one you could film against a green
screen in this scenario I want to have the lighting and the colors to be as
natural as possible so I just filmed it in front of a normal background now
there's a couple ways that you can create a key around this and we're gonna
try one in particular that sometimes will work out well but it's really hard
to get perfect but I'm gonna show you anyway so we'll go to keying and then
we'll go to difference mat and then we can open up the mat it took me a second
defiant and we can see that it's selecting some of the background
information too now what the difference key does is that it looks for the
difference between two references that you're comparing one that would be the
foreground one would be the background and tries to sense what the difference
between those two layers are and what results isn't typically perfect it's
usually not great but sometimes it's good source material but there might be
a better option than this so we'll tweak it a little bit and it doesn't look like
there's much we can do to help it
even I do this it's still still gonna select some of the background which is
not what we want to do and it won't be perfect pick us I got that there so
we're gonna forget about the difference Matt we're gonna skip that all together
so what we're gonna do instead is we're gonna do a rotoscope now a rotoscope
used to be this horrible horrible process that you had to animate these
splines frame by frame and each individual point and it was a nightmare
to do but what they've done recently in After Effects is they've they've
quickened that up quite a bit it's it makes me so happy to you so I'm gonna
show you that in a second okay so we've got the foreground layer
which I should probably rename while we're here we'll just put it to me there
we go it's important to name your layers so
that you know what you're working with okay so so you see this little green dot
this is now how you select objects for the the rotos planning so all you got to
do is draw around here just a rough shape and see the little purple line
that went all around me that's a split that's the matte it just created a man
it's so good it's so good so before what we would have to do is
we'd have to take a little vector splines and then bit by bit penned them
in frame by frame and then animate them using key framing before and that was
the worst that's the way I learned how to do it like ten years ago and it was
just a nightmare so that's how you do it now so all you got to do now is go and
it'll even sense quite a bit frame by frame what you are trying to do with it
so it'll it'll move on its own but you can you can refine that a bit yourself
so let's go in between a few frames okay see now it is moved out so we just need
to select again we want to get too far to the edge because then you're gonna
start selecting some of the background and it did a good enough job to sense
what you wanted in the foreground you see this there's one little thing here
that it got selected in the background so all you got to do is hold down alt
and it'll turn to red and that is the deselect
see that and it just fixes that right up beautiful alright let's continue to
scrub through the timeline and see if we can get everything in there that we want
okay I'm gonna skip ahead a little bit so you don't have to watch all this okay
and with that I have edited things up a bit it only took a few minutes and I've
got a pretty good map there's a few areas I'm gonna clean up in just a
second but you can play it back and watch where the purple lines are and
then you know where you're at with your mat now that I have separated my layers
you can see that if I I can flick this on and off it's perfect there you can
see the background and all that good times okay so we're gonna move me to the
middle layer and the FX layer is gonna be on top and remember the FX layer is a
duplicate of the background layer so what we want to do with the FX layer is
we're gonna go to effect and distort and then we're gonna do a
displacement map now the displacement map layer is gonna be me and the source
is gonna be effects and masks okay so this is just how simple it is now you
just take this and tweak it and as you can see it's distorting to me so you're
gonna want to tweak this according to the amount of the effect that will look
the most realistic now remember with cloaking you want it to be just a little
bit off kind of like you were made of glass or there was some displacement in
the air which is exactly what that layer does so you're gonna want to tweak it a
little bit until it looks about right for what you want to do and and
depending on where your subject is and all that is going to make a difference
so a little more just a little more detail in my face now another way that
you want if you want to bring out the detail a little bit more go to the me
layer there and then go to effects stylize and then go to find edges okay
and then you're going to go to invert and it's going to create harder outline
edges which will help you out there a little bit and then if you want to tweak
that a little bit you can go to blend with original and then
move it until that looks about right to you so we'll go to you 42% there now
let's go back here and tweak this until this feels a little more right beautiful
okay so now that we have the effect the way that we want it to look we're gonna
try to do a bit of a transition from going to normal to invisible or cloaked
alright so how we're gonna do that is first let's go to here to the me layer
and we're gonna turn off the defined edges okay it's important to do that
we're actually gonna keyframe that because we want it to turn on we don't
want it to be like that in the beginning so we'll do that we'll go to FX layer go
to effects and then we're going to go to transition and then we're gonna do image
wipe okay so now that we're here let's scrub ahead to a point that we want him
to turn invisible so probably around here is fine
oops I thought I'd turn that off and that's okay we can do that in a second
all right let's see how that looks if we want to turn keyframes on for that
as well should we want we want the beginning to be a hundred percent
completion and then we're going to want to go to our next keyframe
and we'll turn that to zero okay there we are there's the key French let's move
this key frame out a little bit there we go now we can move it so let's just
delete that one there
okay that's a nice smooth white I like that kind of moves with it really well
very good okay so the next thing that we're gonna want to change we're gonna
want to go to the me layer X fine edges
okay and we already have the keyframes on remember and we're gonna go to a
hundred percent so it's gonna go that way and then once I turn invisible once
I'm mostly there let's add another keyframe and then move a tiny bit
further ahead and
turn that down to where we had before 65% it looks alright
okay well let's preview this okay and then I'll render not bad there you have
it that is how you create a cloaking effect or invisibility effect in Adobe
After Effects it's actually a lot simpler than it looks and it's a really
cool effect that's easy to do so that's it guys if you use this effect let me
know I want to see what you come up with for a short film or whatever there's
gonna be more of these types of tutorials in the future so subscribe if
you want to see more alright guys take care