WEBVTT

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Hey everyone, welcome back to the Channel.

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Today I created that composite in After Effects using super comp.

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Alright, let's get right into it.

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Okay, so here we are, after Effects.

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And you might think hit yes.

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Why do I need SUPERCOMP cool plugin to create composite? SUPERCOMP will come

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in handy when you composite a lot of things that require blending in, such

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as background lighting, fire, fog, all those harder blending elements.

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Super combo make it really easy.

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So here we have this three elements and it's the clip, the fire and the

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spaceship. And we're going to blend them in really quick.

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First thing we're going to do is to fire.

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And for this specific fire effect, it depends on where you started at.

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See how it goes out of the frame here? Well, when it's blended with the
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composite, you'll see like a line.

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If that's why you want to use, then go for it.

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I'm going to use this since it's most of it in the middle, and we'll fix

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that part later on.

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I'm going to remove this

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BCC studio.

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And same for the spaceship,

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I'm going to bring back some of that foreground.

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Okay. So once we remove that now, let's see where we're going to place this.

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Turn this layer off for now.

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Okay. In the spaceship, we're going to have it here.

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Like I said, if we're looking on the top,

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go ahead and make two of them.

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Okay, so have two spaceships coming in.

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So the thing is, when we place the spaceships and you play it, they move
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with the clip.

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And I want them to stay in place up here.

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So when the camera goes down, they disappear in frame.

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All right.

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So for that, we need to track the background.

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We're going to go ahead and pick this layer track motion.

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So you need to check for a reference point throughout the clip that doesn't

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go out of frame or nothing gets on its way.

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Since I already did this, I know this dot, it's visible throughout the

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video. So I'm going to use that as a reference frame.

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So I'm going to use that as a reference frame and I'm going to track it

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forward. I'm just going to track the position and make sure you track in the

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right layer.

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So when you track, you should see this stay in place.

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It shouldn't go and move around all crazy.

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If it does that, that means it's not a good reference point and you're

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tracking it's not going to be good.

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So you want this to stay in place like this.

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You don't want it moving up, down, up, down like that.

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So that'll give you a good tracking.

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Next thing we're going to do is create a null once we finish this.

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Okay? So once we finish tracking it, let's go ahead and create a null layer.

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New null object.

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This is pretty much going to be an invisible layer that we're going to use

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to transfer the tracking data into it because when we don't want to see a

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layer moving around when we place the other object.

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So this is going to be an invisible layer.

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Edit target, pick the null.

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Okay. And then apply X and Y.
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Okay. So all the tracking data is in this layer.

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Next we're going to take both of the spaceships and parent them with the

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null. So this means the null is the parent and these two layers are the

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kids. The kids will do everything the parent does.

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It's what's called parenting.

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So we'll play the layer of the video again.

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Now you can see both of the spaceships stay in place and that's what we

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want.

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Okay, since

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we're seeing that.

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And

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just go ahead and place one spaceship for now.

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And let's go ahead and cut it here since it goes out of frame in there, just

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to keep it simple.

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Okay. And we're going to move this a little bit over here.
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We already have this track and now we're going to have to place the fire.

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I want the fire to be in position on the ground here.

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But the same thing happens if we play the clip.

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The fire will move with the clip and it's not going to stay in place.

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So it doesn't stay in place.

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I want the fire to stay here in place.

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I'm going to make it a bit bigger.

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Fire is going to be in place right about here.

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All right.

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So we're going to do the same thing and parent it with the null.

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So if we were to play this, you should see some of those flames

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on these first few frames.

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As it's going down, you'll see the full fire effect.

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And the reason you see some of these flames is because we started the clip

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and the clip begins with the flames going up very high and then they go low.

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So if you didn't want to see those flames up there, what you can do is just

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choose a different time.

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This video will play.

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So you can see that here, there's like this bright.

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And just go ahead and move this a little bit.

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Okay. So I don't want to see this sharp line and we're going to get rid of

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it other than everything looks okay.

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So right here we're going to place a mask.

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So here, let's go to this layer, to the fire layer.

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Click pick your pen and just draw a mask around, roughly around the edges of

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this.

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Now go ahead and invert that mask.

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Now go ahead and feather it

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like that.
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So you shouldn't see that sharp line.

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Then if you want, you can fix these.

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Just shape it up a little different.

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You need to fix the mask.

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You can just

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it looks okay.

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It doesn't look you can't see that sharp line.

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It just looks feathered.

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And you don't need to track that mask because the mask is not going in front

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of the fire anymore, so it's not going to get on the way of it.

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As you can see, it doesn't look sharp anymore.

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Looks feather out.

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So that's good.

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Okay, now the next thing is the fire looks pretty solid.

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It doesn't look very transparent.
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I'm going to change the blending node to screen,

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so now it looks a bit more transparent.

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Okay. So once we have everything in place how we want it, now this is when

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SUPERCOMP comes in handy.

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So now if we wanted to blend all these elements together, we would have to

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pre compose and just add a bunch of effects.

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And sometimes we're not even going to get the right results that we're

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looking for.

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So here we go.

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We're going to use super comp.

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So let me just walk you a little bit through super comp.

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So this is the panel it comes with.

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You can dock it if you want to.

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I like to use it like this so I can see both effects.

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And if you were to add another layer, it will appear here, and it will have

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a plus sign.

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And with the plus sign, you add it to the timeline here, and you could turn

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these layers off, and you can still see super comp.

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The reason we're going to leave them on is so we could move them around if

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we need to.

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So here's super comp.

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And first thing we're going to do is here's the layer.

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And if you were to shoot in different gamma settings, you can change those

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to fit the video, and it'll fix it right away.

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Lower the opacity, add a grain, change the layer type.

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So additive, it's pretty much like the fire.

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That is an additive layer.

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Since we changed it to screen mode, it becomes an additive.

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When they're additive layers, you get different type of to add.
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When they're normal layers, you get more effects to add as well.

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So we're going to start with the spaceship.

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First thing I want to do to it is match the color to the background.

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So first thing we're going to do is match the background, the spaceship

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color correction, and just click Match background.

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Right. Instantly it will match it to the background.

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So what this does, it matches it to the background, to the nearby pixels.

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So if we're here, it'll just match it to this side of the background, not

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these colors.

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Let's say we were to match it to this side of the background, it's going to

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give us different results.

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Okay? So if we were to move the spaceship, let's say here,

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okay, and match background, it'll give us a different result.

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It matches to these colors.

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So if you have different spaceships around here and you need to match them
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to that particular area, that's how you can do that.

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You can also decrease the effect.

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Also, each effect, if you hoover around it, it will give you a stopwatch

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meaning it's animatable and like the super complainer.

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And if you were to press on a Time watch, let's say here, it'll pop up over

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here, and then you can create keyframes and animate each effect to get

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different results.

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Okay, so back to this.

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So we match the color and then you can also change some of these parameters

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and it's not going to affect any of the black and white.

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Once we match the color, let's go ahead and we're going to add some light

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wrap. Light wrap will wrap the background light on this foreground object.

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So all the light, all the colors from the outside will get wrapped around

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the spaceship.

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So let me show you

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how it works.

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Let me turn this off for now.

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It's very subtle.

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You can see it.

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Very subtle effect.

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If you were to crank it up, you can see it more.

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It wraps that light around it.

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And if you just need to do the highlights, it'll just affect the highlights.

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We're going to do shutter library 12%.

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Okay. So once we do the lightweight, let's go ahead and add some ace haze.

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Just add some of this atmospheric surroundings, wraps it up around the

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spaceship. So it wraps up some of this atmospheric around sort of like a

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little color match so it matches the atmospheric more.

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Okay. And then you can also change some of these parameters.
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Shadow softness

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and all these will add more effects, but we don't need all of them.

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Layer glow and optical glow are pretty similar, but pretty much optical glow

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will wrap around the object more than layer glow.

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Okay, so once we integrate the spaceship into the background, now we can

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move on to the fire effect

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real quick.

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Okay, so I'm happy with the results for now.

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We're going to keep this a bit simple and just color match it and wrap some

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light on it.

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Next, let's go to the firefight.

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So once we're on fire effect, let's go ahead and go to SUPERCOMP.

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So for this, we're going to add a format.

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First of all, let's just match it to the background a little bit.

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It's a very subtle effect.
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I don't know if you saw it.

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It doesn't look as orangey as it was before.

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Let me fix this mask real quick around here.

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Okay, there we go.

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Okay, so we color match the fire a little bit, change the highlights a bit.

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Now here we have let's go ahead and add format.

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So what format will do is it technically adds density to the fire.

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So let's see.

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We have a frame here where you see more of it, where it rises up a little

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bit more like here.

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So you see this black.

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It's still black.

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Highlights of the fire.

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So if you add more density, it'll make it more opaque instead of changing

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some of those blend modes.

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Or if you want it to look more transparent, just lower it.

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Or you could animate it to give it a different type of effect.

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And you can soften and change some of these parameters.

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Okay, so that's the format.

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And then the best is the heat blur, which if you were to realistically look

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through fire, it will look distorted, and things will look like if they were

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behind, if they were melting.

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And it's harder to do that with after effects.

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So if you change some of these blend modes, it's just going to look like

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transparent. So if I were to look through this fire, all the heat would

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distort the background.

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As you're seeing it through, it's hard to create that in after effects.

00:22:58.624 --> 00:23:00.052

So here we go.

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It added this heapler.
00:23:03.800 --> 00:23:06.150
Let me show you a frame around here.

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Okay. So these letters behind this fire would be like, distorted.

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So let's go ahead and just take this frame and use it.

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Okay. So we're going to change the texture of it's, going to distort and

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displace it.

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So you can see already it's getting distorted.

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And as you change the displacement and the texture, you'll get different

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results. So you see like, these letters are all like, melting versus if you

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were not heavy affected, you could read through, but in reality, you

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wouldn't be able to read some of this.

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So like that.

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Now look at these.

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It looks like you can see there's heat in there.

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This building here, everything looks distorted.

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So as you change the displacement and the texture, you'll get different
00:24:27.574 --> 00:24:34.370
results. So now I kind of like, this looks good.

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I'm just going to soften it up a little bit.

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And as you change these parameters, you'll get all kinds of results.

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You can also animate it to give you different results as well.

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Okay, so I'm happy with this.

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I'm going to leave it as it is.

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And when I play it, you should be able to see the effect more realistic.

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Yeah, you won't be able to see this effect very noticeable because it's so

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fast to the eye.

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But if you were to pause it in that frame and look at it, you could tell.

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But just adding this subtle effect, even though it's a quick eight second

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video, you add more realism to it.

00:25:31.160 --> 00:25:37.560

But just looking at it like fast, you won't probably notice these

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distortions. Like right now, since it's going slow, you can see it, but when

00:25:43.358 --> 00:25:45.832

it plays at regular speed, you're not going to notice it.

00:25:45.886 --> 00:25:50.780

But it's just so subtle that it adds that realism.

00:25:52.640 --> 00:25:58.872

So, yeah, super Comp is definitely really cool when it comes to integrating

00:25:58.936 --> 00:26:01.440

fire, smoke, mist.

00:26:02.660 --> 00:26:06.528

As of now, it's only three years old, so they still haven't added much

00:26:06.614 --> 00:26:09.490

effects, but hopefully they'll add more.

00:26:10.660 --> 00:26:16.308

I hope they add something to the composite water to make it, such as, like

00:26:16.314 --> 00:26:22.084

the fire effect, glass, just those effects that are kind of hard to

00:26:22.122 --> 00:26:23.536

replicate after effects.

00:26:23.568 --> 00:26:28.970

But as of now, I mean, it has some pretty cool effects to blend all these

00:26:29.420 --> 00:26:30.856

elements together.

00:26:31.038 --> 00:26:36.440

So technically, anything that I put behind this fire, it will automatically

00:26:37.760 --> 00:26:39.992

also distort, such as the letters.

00:26:40.056 --> 00:26:45.404

So if I add text behind this fire, it will have the same effect as these

00:26:45.442 --> 00:26:51.280

letters. That's how they all interact with each other, all these layers.
00:26:53.700 --> 00:26:55.232
They know what you wanted to do.

00:26:55.286 --> 00:27:01.984

So even if you forgot something that you think you need, that it will just

00:27:02.022 --> 00:27:06.390

automatically give you that effect without you even knowing it supposed to.

00:27:07.880 --> 00:27:11.444

So if you were to use this fire effect all the time, you could just save

00:27:11.482 --> 00:27:20.744

this layer and just save it, and you can use the next time preset and just

00:27:20.782 --> 00:27:22.004

add the fire preset.

00:27:22.052 --> 00:27:23.370

If I could just in.

00:27:25.500 --> 00:27:34.460

So I really like supercontu capacities to make them look realistic, and it's

00:27:35.200 --> 00:27:38.670

really fast and it's really fun at the same time.

00:27:41.680 --> 00:27:44.860

Well, for now, we're going to leave this as it is.

00:27:45.010 --> 00:27:49.224

I'll see if I can do a part two to add more to this scene.

00:27:49.272 --> 00:27:52.116

But for now, this is all I have for now.

00:27:52.258 --> 00:27:56.240

I hope you like this type of tutorial and hope it was helpful.

00:27:56.400 --> 00:27:59.380

Let me know if you have any questions in the comments.

00:27:59.720 --> 00:28:02.500

If you like this type of content, head and subscribe.
00:28:02.840 --> 00:28:03.200
Bye.