I would never have looked at the finished result and thought for even a moment that there was no actual 3D work involved here. This is an artful manipulation of the source image.
@@cgc7032 no never quit if its the thing you like 😣you have a long road ahead from you🤗keep the finish result in mind people reaction and being proud of your self ☺have fun while you are doing what you truly love💜
Never thought of using the liquify tool for that. I'm going to have to give this a try! Thank you. Wishing you the best and for the growth of your channel.
Dude you just said your secret in the first few seconds in the video unlike other youtubers who make you watch until the end to actually tell you.. you are amazing and because of that I kept on watching! Subscribing to you now!!
0:39 Almost mesmerizing to watch her rotate back and forth. Even without your explanation, you can just tell the artwork was perfected in 2D so it’s crazy to see it come to life. You’re genius for even figuring out this method can work and how to perfect it.
I found this video 2 years ago. But i was'not ready :D today 2 years leter when i dives deeper into games animations i finally understand. And also finded a solution that will help me to jumping to the next lvl. This tutorial covers things that almost nobady can in AE. This are technics of professional Spine animator. This is a master's solution...
anthony i just want to say thank you for sharing to us. your tutorials are really useful and even there is free downloadable script that actually worked like charm. if you put some ads to your videos i wouldn''t skip them you're the best animation channel i've ever subscribed edit: words
Dude, this is like the most genuine dude I've seen. He even reads and likes all the comments PogChamp. He EVEN WORKED ON LEAGUE LOGIN SCREENS THAT SENT ME BACK TO SEASON 2. Just take my sub because now I'm gonna start AE and need someone like you for everything AE related.
Hey - great stuff Anthony! As other have said, great explanation. For years I did this sorta animation at work and at the time I rarely saw any tutorials specific to AE's liquefy process. I often felt like I was developing my own process that I'd then share with my team. Couple things I thought I'd comment on and share: I never messed around too much with null controllers mainly because the animation I did was often very short and linear. Look right, look left, glance up and blink, return to default pose. It's not a problem to forgo any controllers or rigging for essentially a couple poses that can be created with a little effort. But I can imagine, for longer cinematics, a controller that works on both the X and Y axis can probably come in handy when animation might have a longer duration and more subtlety/variety. A solid rig. I have used Joysticks 'n' Sliders which is great for a much more graphic style. Funny enough, aside from the controller, I'd work the same way; precomping the head, then moving hair parts and other pieces separately to give the illusion of perspective. However, I often did the reverse and work with a BIG brush first on the face, then do smaller passes on the extremities like noses and lips. This is just preference, but I think I liked seeing/feeling the general movement immediately. I wanted to get in with a big brush in the middle of the face and tug it around to sorta visualize how the whole noggin is gonna work. Get that keyed, then get in their and push the sticky-outy parts further. It could be helpful to note for beginners because it can be hard to visualize the whole movement when your focus first on the lips or nose. Sorta like painting - block it all out first. Just an observation. Good note about changing the brush diameter. I remember constantly returning to the effects panel just to fiddle with the size until I learned about that shortcut. I could be noted, that the shortcut to change the brush size ONLY works when the cursor is placed within the bounds of the layer that has the liquefy applied to it. Often times I'd have a tiny layer, like an eyebrow or something small, and I'd be dumbfounded why I couldn't change the size of the brush with the control/command key. Well, it was because my cursor was floating off the object itself. Weird sorta thing in AE. Often you're working with a big image of the face, maybe it's even larger than it seems because it's on alpha, so the shortcut always works. It's those edge cases with small pieces when you're like, "what the heck?" I'd often use the brush pressure settings too. By default I think it's set somewhere in the middle which really does a decent job - but I often crank the pressure up around 90 when I want to really push the hard tip of the nose around specifically. Or fix that corner of the eye more precisely. Then soften the pressure when I want break out the big brush and nudge the whole face around. Like ya said, it's perfect that the brush is a circle like that for perspective, but it's hard to imagine the falloff of the brush's pressure in AE. In photoshop you clearly see your black and white brush and can SEE the falloff. Might be nice if there was a little graphic widget in the AE liquefy effects panel that showed that. So I just sorta guess at pressure numbers depending on what I'm doing: 20, 50, 90, etc. Lastly, one other thing I shared with team members: you can stack multiple liquefy effects and name them (as you can with any effect in AE). Sometimes it's super helpful to think of multiple liquefy meshes on one object. Often times I'd have one that ONLY controls the eyelids for a blink - completely collapsing a fleshy lid layer with a liquefy. And another liquefy for the eyebrows to nudge them around slightly during the blink. It's nearly impossible to do two things with one mesh. And on top of all that, I might have another liquefy on an adjustment layer for the general turn. Maybe one for a head tilt. Mix 'n' match baby! This can also be helpful for animation too. For example, frames 1 to 30 will be the "head turn" with one liquefy, but a separate liquefy can be keyed at 15 to "tilt" the whole head down and act as as an "arc" of sorts for the head turn as it blend all the liquefies together. In terms of process, "compounded liquefies" probably comes with practice the more and more comping/character rigging someone does. The big gotcha I ran into all the time was just sheer computing power. An underpowered machine is beyond frustrating when trying to do liquefy. AE can drop the resolution on the fly to help crunch through effects work, but you can't be looking at a low rez image when ya wanna precisely push pixels. And you can force the resolution to stay HIGH, but then there was a lag in the update for me when I'd use the brush. A lose lose situation really. We were often trying to do animation for 4K monitors though - not something I'd recommend for liquefy unless your machine is beefy enough! Again, thanks Anthony. Clear and validating to see! Hope ya don't mind me nerding out over this stuff - ha! :-)
Holy cow! What a thorough response! Yes, I agree with everything you mentioned. I too stack liquify effects for the different phases or needs I have for animation. For instance, having a liquify for the horizontal distortion and another for a vertical distortion to complete the face controller in all directions. This makes it so that you can focus on a particular problem before moving on to the next. On the cinematic I Directed, ANNIE: Origins, I made sure that the team worked in this way, sense it was our way of animating all the 2D hair on top of 3D characters. One liquify was used for tracking, perspective change, and general movements. The second liquify was for secondary animation. And the third for polish. Rigging is super important so that you don't have to worry if all your moving pieces are moving together correctly and I often only animate my controllers so that I can simplify my keys. This way a lot of the nuanced in one layer of animation is captured in the rest of the layers and my characters joints are animating naturally. Something like my behind the scenes video for Jinx: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--bXtXtmRwdE.html Whatever the case, thanks for tuning in and commenting with heart. :)
Pffffffff! Wow. I have been looking for this technique ever since I discovered HDSoundi's music channel. They display artwork that has similar effects and since I know After Effects I was intrigued to learn more. But WOW! Adobe After Effects just continues to surprise me how you can learn so much and then realize that there is yet a whole other world tucked away inside it. Just discovered your channel and I'm excited to watch these tutorials!
Until see this video, my entire life was a lie. I thought things like this only got done by frame by frame method .... You Sir enlightened me! Huge and warm thank to you !!!!
This be the first video of yours I have seen Anthony, very interesting, I've been wanting to get to grips with this technique for a while in order to bring my 2D assets/illustrations to life, so this has been a very informative introduction to the process, many thanks.
Wow! I've been in the motion design industry for a few years now and am blown away by this technique. The script looks really useful as well so I'm definitely going to dig more into your videos from now on. Nice work! Thanks for sharing
Man I need more animation videos like this. Just discovered your channel and feel like I've found a gold mine. The videos are rich in quality. I want more.
Goddammit, it looks so cool but I'm so shit at using Adobe products that I'd need someone at my side, telling me what to do even with this video on. But good work, you're amazing. She looks incredible twisted like that.
I'm very fortunate this video appeared in my recommendation. I was lacking motivation doing anything until I found this tutorial. Good day to you sir Anthony, because I definitely did with this.
Anthony, I'm genuinely blown away by your tutorials. I've never seen something like this before and I want to learn everything about After Effects now :D
Hi Anthony, thank you for your guides and your awesome works. I'm doing animations too, but for now I'm not even close to your skill level, but by looking at your animations I see what I should strive for ❤️
You're a magician!!! Thank you so much! This tutorial really helped me a lot. I was a little intimidated at first because this animation looks so complex, but it was really fun and awesome to do, and I'm very greatful for your advice. Please keep doing tutorials on After Effects because this is awesome.
wow, 3 days ago I was searching for this kind of effect because I have seen it but I couldn't find out how to do it, thanks a lot! now I just need to put all this in practice but it will be easy work because I know now what I want to do and (kinda) know how to do it. Thanks!