05 Trendy 80s Neon Graphics with Sapphire and After Effects – Transitions that Work

05 Trendy 80s Neon Graphics with Sapphire and After Effects – Transitions that Work


– Hello and welcome to part five of Creating Trendy Neon 80s Graphics with me Ben Brownlee from Boris FX. And this is the final part of the series. So what our main focus is gonna be on, is putting everything together. So we gonna take our text, our graphics, make any sort of small
changes that we need to. Then I’m gonna show you
a couple of little tricks that I like to use to
tie the world together so that we end up with something that looks a little bit like this. (introduction music) This is our starting point for part five where we
left off in part four. So now we got the main
shape of the project. I wanna animate up some of the elements so we get a bit better transition to bring all this stuff in. So I’m gonna turn off my
floor again for the moment to get this rendering a bit faster and turn off the big
beautiful glow as well and also turn of dreams coz I wanna focus just on
the neon coming through, the neon text and I’m even gonna turn off the fill coz we gonna just animate
up the outlines first. Now in this project, because it’s slightly over the top, we want big bold transitions. So the transitions that
we’re looking at aren’t nice, happy, dissolve transitions, just coming in, looking all very nice, we don’t want any of that. We want something that’s
a little bit harder, we want wipes and we want warps. And I think we’re just gonna start off with a general wipe. So I’m gonna come down to
the Sapphire transitions. And we have a large
number to look through. But most of these break down into either wipes of some sort, dissolves of some sort or the bits in the middle, things like FlutterCut and FilmRoll so some sort of push usually. But we’re only interested in one of these and it’s going to be WipeFlux. And what WipeFlux does is, it just animates this on
with organic-looking shapes. Let’s make our frequency higher, turn our frequency up so that we get some
smaller shapes coming in. Round about there, that’s looking kinda cool, I like that. Maybe add a little bit
of softness to the edge, not a lot, maybe just one point then we can just animate
this on as we need to. So I’m gonna take my
wipes and just do 100% so we can’t see it, animate that on maybe over about a second or something, maybe a bit too fast. Let’s hit U and take it over
maybe a second and a half, Maybe two seconds actually because it’s mainly filled in after about a second and a half. Yeah that’s cool, good. All right so the next bit is to come in and add a
bit of warp to it now. Now this is a companion to one we saw a couple of exercises back. We looked at the Distort Chroma, we’re gonna look at Warp Chroma now. And WarpChroma works in a
rather similar sort of way. We define the to and from points, there we go, and it’s gonna create a number of steps which we define up here. We do 20 steps, we get 20
steps walking through there. Okay we don’t want 20 steps, we only want eight steps and I’m gonna leave pretty
much everything else set to default and the only thing I’m going to change is the from distance, over about a second and
a half, let’s try that. So I’m gonna set my keyframe so my from-distance is at one, come to the beginning and take that down, all the way down to zero or as closest to zero as I can get, 0.001 and let’s just RAM preview that. Cool, let’s hit U one more time to show us our new keyframes. Not the EmbossGlass or the Warp but the Flux and the WarpChroma. I’m gonna make these a
little bit faster to come in. And let’s see what we’ve got there. Very nice. What I’m also gonna do in the WarpCroma, is we have an ability to bring our brightness up a little bit so I’m gonna crack the
brightness up quite a lot, round about five and a half, six almost and then as it comes in, I’ll bring the brightness
down to one again just so that when we
start hitting it right the very beginning, we have a real sort of
strong smack of color, smack of brightness before it comes in. Loving that. A very colorful 80s Tron there which means like Tron but even better coz it’s colorful. And the last thing to do is maybe just even add another wipe over the top of this so we can really start to
see what the wipes are doing. And I’m gonna go WipeCircle and I’m not gonna do anything
clever at all with this, the only thing I’m gonna do is bring the scent up a little bit, at about 400 and then
simply keyframe this in over 4 seconds. So from 100% to 0%. And let’s see what we’ve got. I’m gonna soften the edge out a lot, about 300 pixels to really
smoothly draw that in. Yeah I think I like that a lot. Okay good, so now let’s
add in some of this fill. So when we’ve got, got it around about here, maybe round about two seconds in, I’m gonna bring our fill in as well. So let’s recycle some of the stuff we’ve already got. So I’m gonna take the WipeFlux and just copy that and paste
that over the top of my fill. And that should paste in
the keyframes as well. If I hit U, we can see the WipeFlux has taken in those keyframes there. Just gonna keyframe that
in for about a second. And let’s do the same thing then about two seconds into our dreams as well. And this time, I think I’m just gonna take the WarpChroma and the WipeCircle, copy those and paste
those onto my dream layer and let’s have a preview of that, see what that looks like. Okay I think we need to change
the timings up a little bit and change the order of the
effects up a little bit here, especially with the dreams, the glow needs to come down underneath everything else definitely. And we’ll make everything
just a lot faster, just come in a lot faster. So I’ll quickly do that. We’ll start with the outlines that comes in over about half a second, the fill is here and that will come in almost immediately afterwards and then all the other
stuff with the dreams will come in a lot faster as well and that WipeCircle, I can bring that in a bit slower but still faster than it was before. So let’s RAM preview that
and see how that looks. Yeah and that’s working better. I have obviously messed up
one of the keyframes here, probably I’ve grabbed a position keyframe that I should not have grabbed. Yes that’s exactly what I’ve done. Let’s link those back up
together again shall we. And that’s looking good, perfect. Let’s move on and start having a look at the floor background again. The animative floor background and see how we can bring this in. So I’m gonna add another wipe to this and it’s gonna be
transition WipeRectangle. Turn the other effects off for a second just so it renders a little bit faster. And what the WipeRectangle does, is it wipes it in like a rectangle. Strange that! So let’s animate this in
over a second and a half, maybe bringing that in. That’s looking good. Maybe actually over just
more like 3 seconds, yeah that’s gonna be fine, that’s the right speed that I’m after. Now one thing we can do
with our wipes in Sapphire is add borders to them. So I’ve got two ways of doing this I can add just like a regular
hard border like that, nice, or, let’s take it back to zero, or I can add a border-glow instead. Let’s just glow this up, let’s change our glow color. We’ll have a nice blue glow, something around about there. Nice fat width, right about 35. Leave everything else at default and let’s take a look at
how that works in context. Turn the proxy resolution
down a little bit so we can get faster RAM preview. We’ll see how this starts to work. And that’s kinda cool. Probably do want it to come
in a little bit faster. I’m gonna have it finishing
around about here, about two seconds in and that should make a
much nicer pace for us. Yeah that’s cool. Turn on our other effects and turn this back up to full res and we are almost done here. So all that is left for us to do is start to glow everything
up a little bit more. Now I’m gonna do I’ll just add in the sun, now I’m just gonna cheat a little bit, just to try and tie in
everything in the background. I’m gonna make a sort of glow that is not actually a glow. I’m gonna create a new adjustment layer and I’m gonna add a blur so Sapphire blur, looking good. And all I’m gonna do is,
on the adjustment layer, change that blend mode to add. Now I can crank up that glow and that sort of blends
everything together a little bit. Obviously I’m gonna choose whether to have it
including the sun or not, just by changing the layer order. I think I’m gonna have it
without including the sun because when I turn on my
final big beautiful glow, the one that we’ve been
using all the way through, that might just sort of
overwhelm it a little bit. Just rename that “my blur layer”. And it might be a little
bit too much on the glow. So what I might do is just take that back down a
little bit, maybe to 50% or another thing I can do instead, is come in and add a curves over the top and either bring the
whole thing down there or come into my individual color channels and maybe add a touch more purple in here. So add a little bit of red, little bit of blue and I think I’ll even bring the gamma down there just a little bit. Do a final tweak up on the curves, on the blur layer. Then all that’s really left to do, is kinda have one more thing, just to tie everything together. And sort of mess it up just dirty it up maybe just a little bit more. So I’m gonna apply and adjustment layer over the top of everything and I’m gonna apply a film-effect. Turn off my title safe. And so I’m gonna go to
Sapphire film effect. And that’s gonna change
everything completely. Now with film effects, we’ve got a few things we can change. We can change the negative print, where we starting from and the positive print film there, where we’re going to. And that will have a big
effect on what we see here. But probably the most important one that we can use is the scale CC. So this is how much of the
effect we’re gonna be using. So zero we’ve got nothing,
one we’ve got everything. Now I use film-effect a lot but a lot of the time you wouldn’t notice it because I like to think of film effect as the seasoning rather
than the main taste. Because it’s like you put a
pinch of salt on your food, everything tastes better. You put a shaker of salt In your food and you can’t taste anything
else apart from salt. And that’s exactly the
same as film effect here. We put a little bit on it, it looks cool, we put a lot on it and
it just ruins everything. And then we can either
add in some grain as well. Tons of grain, noise, no. Stick a vignette over the top as well and just sort of do the final little tweaks as we need to. So that’s cool. And with hitting too much of
something like the sun there, I told you there’s a reason that I want to keep all of this stuff really easily available to us. Way back in exercise three,
I think, part three so that all I have to do if I want to take it down the hot spot in the middle there is just literally click on this inner color and then it’s done. All right so I think all
that’s left for us to do now, is hit this RAM preview and then wait a little bit and then come back and see
what our final shot looks like. I think we’ve done what
we tried to set out to do. In the beginning of this we made a nice big
trendy neon 80s graphic. It’s bight, it’s glowy, it’s fun, it doesn’t take itself
too seriously at all. I like this. So what we focused on in part five is actually the transitions. So bringing on the text and the graphics in an
interesting sort of way that fits in with the style
of the rest of the piece and I think barring a couple of timing changes we possible make, I think we’ve been fairly
successful with that. Especially with the Tron-style wipe, with the grid at the start with
the nice glowing border that we haven’t used before in any of our other transitions. I’m actually gonna leave this series here. I think we’ve done quite a lot over the course of probably about an hour. I hope you found at least a few techniques you wanna experiment with or borrow as your own just
straight from whole cloth. If you wanna have a look at this project then it’s availble to download at the link in the description below so don’t forget to do that. And that project doesn’t just have the one that we’ve made together here, it also has my inspiration projects, my final project that I
was working on before. And you might see a few
differences between those two because of course as we’re working and this is a very creative kind of job. Things are gonna hit you differently or you tweak a particular parameter in a way that you didn’t do before and you go, oh yeah, I really like that. And I like to think that’s one of the things
that Sapphire prompts, is it prompts you to just play around a little
bit with the parameters. And see how playing with one value or combining a couple of
different effects together can give you something
that’s either very different or greater than the individual
parts that you put into it. My name is Ben Browlee from Boris FX, thanks very much for
joining me in this series Trendy Neon 80s Graphics and I will undoubtedly see you again soon. Thanks a lot for now. (lighthearted music) if you’ve enjoyed the series, then remember to hit the like button and subscribe to our YouTube channel to be first in line for
all the new tutorials as they come out. If you have any questions or comments then you know where to leave those, in the comment section below. To get your copy of Sapphire then head over to borisfx.com, where you’ll find details
about all Sapphire filters and other Boris FX products.

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