Hey, everyone, Kelsey here and welcome back to Gal.
I have good news for you.
You do not have to handdraq neon elements from scratch in after effects.
You can use this new pack that my friends over at Smash Works created.
It's a pack of mogrt neon elements that includes transitions,
lightning bolts, zigzags, swirly, swirly things, all sorts of things that you can
layer and place on top of your video footage to give it that extra pops.
If you have a dancer, a basketball player, a race car,
you can add these elements just to add some more dynamism .
You can customize them, change the color, alter them.
I'm going to show you how I did
all of this with the opening sequence that you saw with the skateboarder, and
you'll walk away knowing how to use them correctly on your own footage.
So if you're interested in trying out the Smash Works pack, I have a link
just down below.
It's my affiliate links, so if you use that link, it helps support the channel.
I also have a discount code 10% off down below.
Without further ado, let's
go ahead and jump into Premiere and I'll show you how it works.
So right now, we're looking at the final sequence in my timeline
with all the neon elements layered, all of the rose clips here.
These are the neon moguls that I've placed over top.
The sequence, of course, without the elements, the sequence is good
with sound effects, but the neon elements just provide a bit more visual candy.
So let me show you how they work and how I added them, starting
with a clean timeline with just the videos.
So first, you're going to go over to the essential graphics panel.
If you don't see the essential graphics panel, you can go up to window
central graphics.
And if you don't have it at all,
it means you need to upgrade to a newer version of Premiere Pro.
Then you can press the plus icon in the lower right
to import the moderate files.
If you have multiple moments like we do in this pack,
you can select all of the migrants by pressing shift and then drag
and drop them directly into your central graphics panel and they will import.
So I already have them imported here, and you can search for them
just by typing in neon and they will show up
and they will live here forever, wherever.
But if you work on multiple devices, I recommend adding them to your library
and this is how you do that.
You can right click on any moment here and you can copy it to your library.
So that way you can access the moments from any computer
using your Creative Cloud library and you would just filter by library.
So first, I'm going to show you how I applied one of the zigzag elements
the zigzag elements as part of the neon elements one.
So I'm going to drag this maggot on top of the shot here.
I'm going to first right click on the smoker to scale it to frame size.
Because my timeline is turning up in the moment is 4K.
So you can see first, it shows you
a preview of all of the different elements that are within this one moment.
And when you go over to a central graphics, the first thing you can do
is use this slider to change it to the zigzag element that you want.
So we can move this slider over and you can see that
between 21 and 25 are the zigzags.
So I'm going to move the slider
to number 24, which is the one that I used in this case.
Then I'm going to zoom in to the timeline to better see it, and I'll move them
over to align with the video clip as well as I preview it.
I want it to align better with the cutting here,
so I'm going to use the rotation slider to rotate it.
Then I'll use the up and down slider to bring it down slightly.
Then I can preview it back and I can see that
I want to move it over to the left a bit.
So it starts earlier on the left of the frame.
And if you need to make the moment flip, you can click here on horizontal flip
and down here at the bottom, we can play around with the controls.
We can increase the glow intensity and the glow size.
So after you increase the intensity, you'll notice that there's
kind of a darker ring around the mogajane zigzag.
To get rid of that,
we actually need to change the blend mode to screen in the Blend mode screen
will actually remove all of the black from this particular shot.
Next, we can proceed to cut here.
So that way, the moderate clip ends exactly when the animation ends
and then select the access and press delete.
Then I'm going to duplicate the zigzag again by holding the option at key,
and then you drag it up and you let go and it will create a duplicate.
Then I'm going to use the controls over here to slightly change the position.
So that way they're not stacked exactly on top of each other.
And then I will change the color to yellow
and then I will enable the custom glow control in adjust the glow color.
So now to preview this, I'm just going to press eye
and then move over and press over to create this in and out point.
That way, I can press enter
and it will render it out so I can quickly preview how it looks.
So that's how you stack and duplicate the neon elements,
but what if you want to apply one of their hand-painted neon transitions?
Let's show you how these work.
So the transition I use between these two shots is the hand-painted
neon elements for which is included in the Neon Elements Master Bundle.
So I'm going to drag and drop the motor down into my timeline.
And just like before, I'm going to right click and scale it to frame size.
For this, I'm going to type in 14 because it was transition
14 that I chose for this particular shot.
And you can see as you
scrub through, you can see that the animation outro ends here.
But the space between the animation on
in the animation out is quite long, and unfortunately,
you can't just drag this in to change the speed.
We actually have to cut a chunk of it out.
So this is how it works.
So go to the point where you want to make a cut
and then you can click and then you can drag the play.
Head to the part where you want the outro to begin and cut there,
and then you can select this middle area and press, delete
and then use the selection tool to splice the two endings together.
Then we can select both the clips and move it.
So that way, the cut
point is aligned at the same cut point between the two video clips below,
and you can see that the transition clip is longer than the clip.
So this is where we need to actually change the speed of the transition.
To do this, we will use the rate stretch tool by pressing our on our keyboard,
and you can select the end of this clip and drag it and to speed it up.
If we zoom in to the clip here, you can see what exact speed.
We changed it to with the right stretch toward, says 207.69%.
So now we can do the same thing for the end animation.
But instead of using the rate stretch tool,
we can actually right click on the clip and select
speed and duration and type in the same speed as before.
So 207.69, so that way it's the same speed.
And then once again,
let's set in an up points and press enter to render it out to preview how it looks.
And here's the final result.
So for this
transition, my feedback to the Smash Works team are two things one,
to be able to include an expression when they design this and after effects.
So that way, when we roll that motor clip and it will
automatically change the speed, and if there was some sort of control
in the motor that we can type in exactly how many seconds we want
that filled screen to last for, so we don't have to cut it out manually.
But I mean, what I just showed you doesn't take that long to do.
It might take just as long to use those controls
in the essential graphics panel, but it's just a nice to have.
And just like the other element, you can make this transition glow as well.
You can increase the intensity in the size and then go to effect
controls and change the blend mode to screen.
And when we did this, it did make the transition
just a little bit transparent, so you can see some of the video beneath.
In this case, I think it works, but if you want it to be opaque
so you can't see the video beneath, then I wouldn't add the glow
for this particular transition.
And lastly, for one of the shots
I did rotoscoping here, you can see that the element is behind the hand.
So to do that, all I did was duplicate the video clip
and this right here, the one that I labeled blue.
This is the duplicate clip in the moment is beneath it.
So what I did was I, right,
clicked on this duplicate and I opened it up and after effects.
And then I use the Roto Brush tool to trace out the hand.
So that way it would be transparent beneath.
And then back here and Premiere, you can see that
I placed the mirrored element beneath the road of scoped comp
and the original video on the bottom.
So that way the element looks like it's beneath the hand.
So I know rotoscoping can be intimidating and I just briefly covered it here.
But if you want to learn more about how rotoscoping works,
how to put techs, for example, behind a moving subject,
how to remove the subject from the background,
you can watch this tutorial right up here.
You can click on the card
and it just gives you a look at three different examples of moving shots
so you can rotate, scope out the subject and put techs behind
so you can watch that.
If you want to look at my full timeline to see
what exact methods I placed in the exact same spots .
You can sign up to become a patron on my bedroom community.
You can download my product files and templates.
I put links down below, and it just gives you a more in-depth look at my tutorials.
And you can also access my tutorial editing scripts
to get an idea of how everything works here on Premiere ago.
Overall, the best thing about this neon pack is that you don't have to hand
draw from scratch.
They'll just live inside
of your Essential graphics panel forever, and you can just drag and drop them
on top of your video and manipulate them to match the video.
And that's exactly what I did.
I just went in and just played around until I found the right
rhythm with the video and the music, of course.
So if you're interested in purchasing the Neon Elements Pack,
I am Smash Works partner.
I did not design the pack itself, but I am a partner.
So if you use my affiliate link done below,
it helps support the channel and Premiere goal and you can use my code
Galt10 to get an extra 10% off.
And yeah, that's all for today's video.
Thanks so much for watching and as always, keep creating better video with the go.
See you next time. Bye.
So if you're still watching
this video, I also wanted to give a shout out to art grid.
All of the footage here is from Art Grid.
I did not shoot it myself.
And what's really great about our grid is they have an entire story of different
shots, so you can download a bunch of the same shots with the same actor
and build your own story from that in the link is just down below.