Liquify Filter & Puppet Tool


Adobe® After Effects®


Lesson Info

Liquify Filter & Puppet Tool

There's two things I want to cover in this next uh next example and that is, uh, the liquefy filter and the puppet tool and I got this great stock image of almost all the stock images that I get are from my stock photo some good give them a little shout out because they're so good and so generous to provide me with stock images and video and sounds uh and then let me redistribute those with my training so we've got an agreement where where everything that is that comes with the training is okay to use for training and so big shot out the I stock photo I really appreciate their support all these years so this is another image off I stock photo and um it's just this crazy guy a little bit too happy but we're gonna make him really happy. So what I do first is with something like this a puppet. The puppet tool moves things. So uh, since this is just a layer here just on white background so he's he's he's been stripped out he's just transparent guy on earlier so to do just the puppet tool a...

lone we can move him around and it will have a certain amount of effect, but I like to also look it's a little bit deeper and go into the liquefy mode because you can animate you're liquefied like he doing photo shop if anyone's played with the liquefy tool thank everybody has because you've gotto go mess up your friend's faces and put him on facebook or whatever but the thing is the liquefy feature in after facts you can animate that you could do crazy things in there so the first thing I typically do is go into my effects and they've moved it because it used to be right up here at the top up and so now it's effect and distort and then liquefy so that allows me to come in here and let me zoom into an area move him down so the liquefy tools are fairly identical to what they are in photo shop and uh see here if I've got a brush size that can bring that down a little bit I don't need to do too much there and what I want to do is twirl down here to my effects so that I can see my distortion on my mess I wantto click this stopwatch on the distort the distortion mash so that's going to keep frame every time I make movements along the timeline so say I want hiss face to be there okay um but out here a few frames I want teo uh maybe make his mouth a little bigger again with the sound effects you know he's happier so you can see just scrubbing through there hey okay, okay, so we've done that I'm not going to make him too goofy I can always go overboard but for the sake of time I probably won't do that but what I will do is maybe make his tie move a little bit or something uh starting here move this tie and shirt a little bit so they're kind of look like they're flopping around a little and down here have a flip out again I'm just kind of rushing through this so please don't think I'm really that much of a slob so see here so I've got that moving a little bit there um I guess because it's all the same distortion mash you really have to keep your key frames in mind here so probably should have done that a little farther out here um let's see let's go back to their that's could be our default this is where we're coming out tio here so I'm going to move the flap on this coat up a little bit and just kind of general tweaking here may increase my brush size a little more hair so get a bigger area movie shoulders uh flop this code around a little bit flop up a little more and maybe this one comes in a little more here, okay? Actually I'm gonna get rid of that one for the thai there because it's it's making a uh extra extra work for it that it doesn't need hello there we go we have my tool back all right hit one too many keys and I got rid of my tool dario well, again I am not paying attention what happened here? So let me get rid of that key frame there get back here to my last key frame because that's where I want to edit this here we go and here there we go. Move thai out. Okay, so now let's, look at this at this rate and see what it does. Okay? I have to do a ramp review because the pixel previews a little too tight there let's do a quick grand preview there we go. So now you can see that his mouth is kind of coming open little e a and then coates moving so what I can do now is maybe stretch that out a little bit that's happening a little fast and actually let me bring it out to one second and again, like yesterday I can copy my original key frame copy come down here to the end and paste and now I've got a loop that I can use over and over again, okay? So it's very subtle I might move his mouth a little more since I'm only doing it once, so now is the time to do it because when I go into the puppet tool I don't wanna have to be going back and forth of bondage so I'm gonna move his mouth just a little more here back up to two hundred percent down well hello okay so there we go he's a little extra happy now ok there we go so now I've got let's just look att that part of it do a quick ram preview and he goes back all right yea okay so it's a little extra distorted their ok alright way liketo have fun of thief okay, public tools fun too. Okay, so that's where we're going next iss with the puppet tool so uh let's see here I've got that looping through there. Um we could do that again. Let's copy that one and paste it down here three seconds paste ok, so now I've got kind of doing this loop now what? I could d'oh come up here and now I can start adding my puppet tool right to the layer so I've got the layer selected in this. This up here has a little push pin on it. It's called the puppet tool tool puppet pin tool they call it a puppet in tool um you'll want teo experiment with this because typically the uh typically you're gonna want it like pin every joint and and all of that and that's by instinct that's what you think you want to do but you really don't want to do that actually fewer pins gives you a much better animation so I'm just going to pin the extremity is here I'm going to pin like uh right in the palm of his hand on that side I'm gonna pin um kind of right on his nose just the center of his head I'm going to pin this hand on this side uh I'm gonna pin right on his chest and then there are there are tools for freezing parts of the the puppet to I'm going to get into that in a bit, but I find that just pinning since my layer drops down here and see the extremities of my uh layer come down into here so I can pin down here and actually hold the image from flying up too much so I can pin down here just in a couple places to hold it there we go and then you can move your pens around too. So see, I can pin it flipped his hip up like he's kicking out a you know, so you can have fun with that. Um but this is the cool part is we've got these pins now and we twirl this down to our mesh and then deform and we'll see each pen has its own uh transformed function and the first one that you create creates the first key frame so if we come out here our first key frame is created come out here about half a second then we can start moving stuff around so we see here I'm going to you know do that there we go okay so I can start moving this around hello sometimes you have to grab just one pin and then just start planet and then this one I'm going to move up we're going to flip his head forward and will notice something that his head is coming in front of his hand here that's because of the order in which I selected the pin's kind of gave me the hierarchy there so I've got the first pin was the hand that's going behind his head the second pin was his head and now the third pin is his other hand so that's going to tell me what order it's goingto layer things so as we get moving here this hand's going to go in front of his head as he whips his head back later so I'm just moving these pins around to kind of warp him out a little bit and he moved this up and leave those those alone's right now I'm just moving those pants um well notice here that we've got some weirdness happening around the edges here and that's where we can come down here and let's scroll down take this mask uh, expansion here uh usually make that like five where's his expansion under the mesh not mask I'm sorry mesh expansion it's all make that five and maybe not enough let's go to seven uh let's go to ten that helps I still have a little weirdness there it may be because of the liquefy that I did was a little extreme so but that you just keep increasing your massive expansion and that will help make those weird I just go away so uh to keep moving on here because I don't want to run out of time um we're going to move on down the line here just a little more and let's take our first pin and I'll move that up his head back chest out more this way we're going kind of extreme with this obviously so um this where I'll start kicking his leg out so he's really excited here okay again this is this's our current cartoon segment of the day here and you can obviously distort them beyond recognition too. But, uh I see here that down here so you see that almost looks like he's punching himself in the face there. Um you could have a ridiculous amount of of crazy here if you want so on and hear again this is kind of like watching people wrote a scope, you know, it's our watching paint dry it more fun to do it than it is to watch somebody else do it we're going to see some results here in a minute all right? So just a couple more tweaks on dh then we'll get to see what the results look like on dh he's really getting distorted here's got a point back the nice thing is this see how the path shows up here the path shows up where the pin that I'm selecting second see the direction that I've been and I can make a decision as to where I'm going go back a little so see how that path shows up there some kind of his fists or kind of circling there okay so one more toe to wrap it up and bring it full circle and drag him back up way okay so now let's see if we can get a ram preview on this while um well let's up their swing see what the finished result looks like yeah it's going pretty quick yes, yes good time I'm so david mackey asks, can you key frame the stacking order of the pins key framed the stacking order I'm not quite sure what that means faras like move it from one to another I'm assuming that what they're asking is uh can you make one go in front and then go in the back but you can't really do that but there are there are ways of telling something and it gets a little more in depth you've got the overlap tool so if you want to say that you know the head always overlaps everything you can kind of put a couple of these markers in and that might do it if I remember right if it makes a liar out of me yes it's making a liar out of me the overlap let's see here if it there's a way to extend it so if I say it's always one hundred percent in front on and wear we go there's the extent that's what's supposed to show there I'd have to do that on each point so now you can see that that way enforce something to go in front and again that is where you could keep frame its position because if everything of the stopwatch has that capability so that's how you would achieve that same look um so okay so let me get rid of these overlaps here is I don't want to destroy what I've got going to those okay all right so one more thing to make this a little cooler is something that we learned yesterday and that's the ad a cheat layer style drop shadow okay so my drop shadow it's gonna go in here and did it did it see um size go up to that and distance back here pull it back a little farther so it looks like he's in front of a wall here we go and then our angle prove it up a little or back there we go and let's try our capacity just a bit bring that down there we go. Okay, so now we'll do a ramp review while we, uh, get any other questions? Great um s o I mean are so a lot of the tools and photo shop also applicable to after effects? I know somebody had mentioned a tool that removes unwanted parts of the image like the healing brush tool I know similar they're similar warp type tools and photoshopped as well. So can you talk a little bit about if the tools are a similar or if there are ones that you can only find it after effects? Well, yes and no actually, there are some there are clothes there's cloning tool that you can use to remove things were to clone over things or to copy things duplicates so the clone tool does work that way. There are so many tools that we would need probably two weeks to cover everything. So to try to cram everything in three days is a bit much to try to capture all that, but there are some some similarities if he already know photoshopped some of the tools will make sense to you even if they're not exactly the same but they'll at least makes sense to you as to how they work and how you can respond to them, but being that we're working on a time line in motion, there's different rules to how things work. So, you know, the clone tool that works in photo shop, obviously nothing's moving, you're just cloning something and that's it well, in here, you, you're doing that, but you're doing it to a different point in time, in a video or you lock just a single frame. So if you want to add some trees or something over here in one place, and you put him over here where you could do that with a clone tool, but you're doing it in thai everything's all in times, you have to think a little bit differently. Have to think into the future and think it a little behind and try to work it that way. But some tools will make sense, like like the liquefy tool that we just used.

Class Description

Adobe® After Effects® Creative Cloud® is a hallmark broadcast video and film production program — but it has so many functions, it’s hard to know where to start. In this essential video-editing class, renowned video producer and Adobe® Certified Expert Jeff Foster will walk you through how to use the many functions of Adobe® After Effects® to enhance your projects with visual effects and motion graphics.

You’ll learn the basics for controlling movement, animating simple objects and 3D space, create interesting text and title animations, composite videos with and without green screen. Using real-world production examples, Jeff will guide you through this complex program and unpack the tools and terminology so that you can apply your skills right away and with confidence.

Software Used: Adobe After Effects CC (12.0)



Jeff Foster seems like a great, knowledgeable guy. But this course is so disappointing. The classes are disorganized, convoluted yet shallow, and waste an awful lot of time. And they’re just lectures — you’re just watching him do stuff — no lessons where you can work along with him to really absorb what’s going on. My biggest complaints are 1) It seems like he didn’t prepare very much, so we end up watching him go through features one by one, sometimes just to try to find the thing that’s going to illustrate the point he’s trying to make; and 2) he’s unnecessarily confusing. Here’s an easy example. In the “parenting” class, which hinges on one layer’s relationship to another, he created identical layers and named them identically. So he’s explaining that “blue solid” is the parent to “blue solid.” And then he proceeds to discuss the layers, which are numbered #1, #2, #3, by calling them “the first layer” (#3), “the second layer” (#2), and “the third layer” (#1.) After Effects is complicated enough! Maybe I’m spoiled by having learned Illustrator with a wonderful Creative Live course. This is not that.