Week 1 – The James Bond-inspired Title Sequence
Title sequence:
Game of Thrones:
The title sequence of “Game of Thrones” used several visual effects methods. These included 3D animation to create detailed landscapes and mechanical elements, motion graphics to animate moving parts, texture and lighting effects for realism, CGI for some elements, and compositing to combine multiple layers into a single scene.
The sequence changed throughout the series, involving frequent updates and modifications.
Adobe After Effects likely played a role in the “Game of Thrones” title sequence.
It would have been used for compositing different elements together, creating motion graphics (like moving gears and buildings), animating text for the show’s title and credits, colour correction and adding special effects, and rendering the final output.
Money Heist:
The Workshop Activity:
How to change the time display in AE to frames:
1. I created a composite of a circle that scales both up and down using keyframes.
2. I created a new composite, dragged the circle composite to the new one, duplicated it five times, and aligned them.
3. Keyframe assistant -> sequence layers.
4. I created a new composite again, dragged the previous composite to the new one, duplicated it four times, and aligned them.
The Weekly Activity: Second sequence-
1. First composition
2. Second composition. I also used hue/saturation + keyframes to change the color of the circles.
3. Third composition:
4. Fourth composition (Last one):
Week 2 – Alphas and layer transparency
Class Activity:
Adjust the colour of the cards with Curves, Hue/saturation/Brightness.
Then, I created a white solid colour layer, right clicked and “Pre composed” them.
Add “Track Matte” option –
Luna matte:
Adding Smoke with the same method. Then, add the same smoke asset again, change the mode to “screen,” and reduce the opacity.
Masking:
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Live and Let Die or Spectre ‘skull inspired’ sequence:
Layers order:
1- Fire asset. mode = multiply. Track matte connected to layer 5
2- Daniel Craig’s image when only his eyes are masked (add mode). Track matte connected to layer 1 (in order to make the eyes more highlighted when there’s fire on it)
3- Skull image without a background
4- Daniel Craig’s image when hair his eyes are masked out (subtract mode). The opacity is at 40%. Track matte connected to layer 3.
5- Skull image without a background
6- Fire asset
First, we created 2-5 layers. In the end, we added the fire asset. After you connect the fire layer to layer 5, turn on layer 5 again. Same with layer 2 and layer 1. 
Weekly Activity:
How to add a repeater to an image:
1- create a new null object
2- drag to the null object “slider control” preset
3- Link the image to the null object
First Part:
Second part:
Final Comp:
Week 3 – Green Screen
This week, we were using the green screen room to take videos of ourselves so we could edit it the week after.
A link to the videos
The best videos from class that I intend to use: 5, 8, 31,32, 79, 80, 81
Week 4 – Green Screen and Keying
The green screen technology:
– A green screen, also known as chroma key green, is a bright green backdrop placed behind the subject being filmed or photographed.
The colour green is typically used because it is not a colour found naturally in human skin tones or in most clothing, which makes it easier to isolate.
– The subject is filmed in front of this green backdrop. It’s important to have good lighting to ensure that the green colour is uniform, as shadows or uneven lighting can make the keying process more difficult.
– Chroma Keying Process – In post-production, the green colour in the footage is made transparent using chroma keying software. This process involves selecting a colour range (in this case, green) and then removing (“keying out”) that colour.
– Layering Images – Once the green colour is keyed out and made transparent, another image or video can be placed behind the subject.
– Refinement – The edges of the subject are often refined to make the blend between the two images more seamless. This might involve smoothing edges or dealing with ‘spill,’ where the green colour reflects onto the subject.
Colour Keying in After Effects document
The Workshop activity:
I used the keying plugin on After Effects to separate an object from the greenscreen behind. I needed to choose the screen colour and adjust the “Screen Grain” and “Screen Balance”. To get a more accurate result, I changed the view from “Final Result” to “Screen Matte”.
Under the “Screen Mate” tab, I adjusted the “Clip White” and the “Screen Softness” functions.
Then I switched back the view mode to “Final Result”, added a red solid layer under the video layer, and masked out all the remaining areas.
I applied the same method to the rest of the videos. Then created 6 eclipses and deleted their stroke. Then created Alpha Matte:
– Matte -> Simple choker: good for making the green less visible on the edge of the video.
– The reason we did everything separately is that we could make adjustments to each circle more easily.
The weekly activity:
I keyed the greenscreen out from videos number 32, 80, 81.
The change of the colour background throughout the scene:
Final Scene with the moving circle:
Inside After Effects:
Final Render (With Music):
Week 5 – Tracking
Topics that were covered in the lecture:
Different tracking methods. To get into the tracker options: Window -> Tracker
The Workshop Activity:
1 One point track:
Upload the jungle mp4 and the label image. Added the tracker.
Adjusted the pivot point of the label so it will be inside the circle.
Choose “Track Camera” option and choose what to track. Click on Analyze -> Play icon.
Click on “Edit Target”, choose the label layer, choose the “X and Y” option and then click “Apply”
Final Comp:
2 Face tracking masks:
Duplicate the mp4 so we will have 2 versions of them.
On the top layer, mask out the boy’s face. Then, choose the “Face Tracking” method while our mask is chosen.
Effects -> Stylized -> Mosaic
Final Comp:
3D Text Environment:
Choose the “Track Camera” option
Click on the point we want to track, then right-click and choose “Create Text”
Adjust the angle of the text. We can change the style of the text and the blend mode as well.
Final Comp:
4 Content Aware: Clean up Archway
Duplicate the mp4. On the top layer, I masked out the items i wanted to remove. Changed the mask option to subtract.
Chose the mask, then chose “Prespective” tracking mode and pressed Analyze -> Play
Content-Aware fill the masks: (at the end click on “Generate Fill Layer”)
The result:
Final Comp:
Perspective Corner Pin:
Chose the “Camera Track” option and chose “Prespective Corner Pin” track type.
Placed it:
Added the “Adidas” icon and resized it.
Changed the “Motion Target”
Final Comp:
The Weekly Activity:
Extra Activity – Mocha Plugin:
I created a new composition from the video, and dragged the mocha preset to it.
Doubled clicked on the mocha icon to open the plugin window:
Using the “Create X-spline Layer Tool,” I chose the area I wanted to track and mask. I dragged the blue squares to make the corners of the selection sharp.
Under “Layer Properties” -> Insert Clip -> Logo
Under “Esssentials” click on “Show surface” and then adjust the logo image.
Click on perspective and then on the right arrow.
Locked Layer 1 and repeated this process with the second building.
Went back to AE. Clicked on “Create AE Masks”, duplicated the video and changed the mask settings of the top video to “Subtract”.
I created a new composition with the clip I wanted to put on the building. Keyed out the green screen and changed the size of this video:
Applied this function so the clip won’t “disappear” when it’s finished:
I imported this composition into the main one and changed the anchor point of the composition so it was the same as our main clip.
Clicked on “Create Track Data”, chose the (mocha) layer I wanted to assign and then under “Layer Export To” i chose the clip i wanted to create the link with and clicked “Apply Export”.
Final Result:
Week 6 – 3D Space in AE:
Topics that were covered in the lecture:
Go to the 3D mode:
Convert a layer into a 3d shape and adding a grid:
Add camera and lights:
Adding a solid layer and making it cast shadows:
Enable cast shadows both on the solid layer and the spot light options.
The Workshop Activity:
Adding text and making it 3d:
Switching to “Cinema 4D” mode to have more 3d options like Bevel/Extrude and material options
Adding an animation to the text:
Using the “Shatter” stimulation to make the text look like it was hit by a bullet:
Convert to a 3D:
Pre-compose (otherwise, the effect wouldn’t work when turned into a 3d) the text, turn it into a 3d text layer and place it.
Enable “cast shadows.”
Maya:
AOVs (Arbitrary Output Variables) provide a way to render any arbitrary shading network component into different images.
Open the Arnold renderer window, and under the AO activate the diffuse, specular, crypto_object, wire, sss and transmission.
On the Arnold Renderer show the AOV list.
Output renders:
Created a new AOV
This window will show up on the left side of the screen. Scroll down and assign an “aiAmbientOcclusion” shader.
Render output:
Render a sequence:
Changed the Maya mode to “Rendering”.
Under the renderer settings i ticked “Merge AOV’s”
Then under the Render tab i chose “Render sequence”
The output:
Back to AE:
Dragged the EXR file into AE and created a new composition. Dragged the “EXtractoR” option to the composition.
Duplicate the layer, and change the channel info of each of them.
Change the blend mode of the 2 top layers to add. Add an AO layer, put it on top, change the blending mode to “Multiply,” and lower the opacity to 30% so the objects will have a better shadow.
Add a new “Adjustment Layer” and assign it an “Exposure” colour correction. after, precompose all of the layers.
Add the EXR file again and assign the “Cryptomatte” effect so you could choose different parts of the render. Change the output to “Matte Only”
Choose different objects and create each layer for them. You can add hue/saturation to change the colours of the objects.
Final Result:
After:
Before:
The Weekly Activity:
Reconstruct the scene Bond scene in After Effects from the component AOVs
1. Repeated the same rendering process in Maya (description under the workshop activity)
2. Created different layers using the “EXtractoR” option (the full details under the workshop activity)
3. Created CryptoMatte on the final composition
4. Fixed the glass by changing the AO
Final Result:
Before –
After –
Week 7 – AOV’s:
Topics that were covered in the lecture:
AOVs for Image Compositing – Arnold for Maya Documentation
AOVs (Arbitrary Output Variables) are additional image channels rendered alongside the main beauty pass, containing specific elements like reflections, shadows, and ambient occlusion. They offer flexibility in post-production, allowing adjustments without re-rendering. Common AOVs include Diffuse, Specular, Transmission, Shadow, Z Depth, and Normals.
Z Depth calculates pixel distances from the camera for depth effects, while Ambient Occlusion simulates soft shadows.
Colour Management – Arnold User Guide Documentation
Maya’s Arnold renderer uses ACES (Academy Color Encoding System) for consistent and accurate colour management, ensuring realistic renders and seamless integration in post-production.
The Workshop Activity:
Cubes:
On Maya, under the render settings, add the “Z” option. When rendered, it will look just like a solid white.
Render the sequence:
Changed the Maya mode to “Rendering”.
Under the renderer settings, I ticked “Merge AOV’s”
Then under the Render tab, I chose “Render sequence”
Drag the EXR file to AE and create a new composition. Duplicate the EXR file 3 times.
To the top layer, apply the “EXtractoR” effect and choose Z. Then adjust the settings so the cube will be visible:
Drag the “Camera Lens Blur” effect to the second layer and adjust the settings like so:
Make sure you change the Layer to Z Depth layer (top layer) and the Placement to “Stretch map to fit”
Poles:
On Maya, under the render settings, add the “Z” option. Also, create a custom AOV and name it AO.
This window will show up on the left side of the screen. Scroll down and assign an “aiAmbientOcclusion” shader.
Render the sequence:
Changed the Maya mode to “Rendering”.
Under the renderer settings, I ticked “Merge AOV.”
Then, under the Render tab, I chose “Render sequence.”
Change the Project Colour in AE so it would match the setting in Maya:
The reason we are doing it is so the renders in Maya won’t look darker on AE.
The most common one is sRGB.
Duplicate the EXR file 4 times.
Apply the “EXtractoR” effect to the top layer and choose Z. Adjust the settings like so:
You could also add levels to increase the black-and-white differences.
Repeat and choose AO. Reduce the AO layer opacity to 30%. Change the blend mode to multiply. Pre-comose the regular EXR and the AO layers.
Add the “Camera Lens Blur” effect to make the distance part of the image more blurred:
You can also add a solid layer to add fog by attaching the track Matt to the Z layer:
Final Result:
Step 1+2-
Final Step-
Week 1-7 Showreel:
Week 8 – Intro to Dynamic Animation in Maya:
Things we covered in class:
– Recap of AS2.
– Enter the FX mode in Maya to create animations
– Using the Bullet plugin
Workshop Activity:
Open Maya. Activate the “Bullet” Plugin. Add a couple of objects to the scene.
For each object, apply “Active Rigid Body” and choose the correct shape for it.
Tick “Ground plane” to create a floor. Change the “Playback Speed” to “Play Every Frame, Max Real-time.”
Result:
Brick Wall:
Build a brick wall and add a sphere to the scene.
Apply “Active Rigid Body” to both the brick wall and the sphere.
Change the “Velocity” and the “Mass” settings.
Result:
Chains:
Model chains.
Mesh->Combine the last chain with the sphere.
Apply “Active Rigid Body” to everything. Change the “Collider Shape Type” to “Auto Compound”
Change the “Mass” to 0 of the first chain.
Result:
Weekly Activity -Domino:
I applied the same method we used at the workshop activity to achieve this domino effect result:
Week 9 – Introduction to Nucleus Simulation (nParticles and nCloth)
Things we covered in class:
Stimulating Cloth – nCloth, nParticles and simulating fabrics with particle interaction
– Simulated cloth and how to set it up in 3D
Working through the different cloth and particle sim scenarios, including:
– Simple nCloth Setup
– Cloth for modelling
– Cloth with forces (wind and gravity)
– Cloth interaction with particles
– nCloth with a character rig
– Tearing cloth and cloth constraints|
All the explanations are under “Workshop Activity.”
Workshop Activity:
The Basics:
Open Maya. Change the mode to “FX” so you would have the “nCloth” window.
nCloth->Create nCloth.
On the outliner, choose “nucleus” and tick “Use Plane”
Under nCloth we can choose different presets of the cloth.
Result:
Flag:
Model a flag and assign a new Arnold Ai standartsurface shader. It is important to assign the shader before applying the nCloth to the plane.
Apply nCloth on the plane (only). Choose the following vertices and the polyCylinder. nConstraint-> Point to Surface.
On the outliner, under “nucleus”, change the wind settings.
Result:
Trampoline With Particles:
Model a trampoline and assign a shader to each of the objects.
Create the particles:
Create Options -> Balls. Then, create an Emitter.
There’s an option change the particle mass and other settings.
Apply nCloth->Create nCloth. Choose the following vertices and the frame. Then nConstraint -> Point to Surface
Result:
Add Tearing Effect:
First, choose the vertices you want to tear. Then Apply nConstraint -> Tearable Surface
Week 10 – Green Screen Session
Things we covered in class:
This week we took videos of our ideas for the second assessment in the green screen room.
Week 11 – Introduction to Maya Fluids smoke and fire simulation
Things we covered in class:
This week we covered different kinds of fluids inside Maya. We learned how to use it on the workshop activity.
Change Maya mode to “FX” and go to “Fluids” tab
The Workshop Activity:
2D Container:
Create a 2D container. It will create both Fluid and Emitter.
Drag the container so it will be above the Y axis.
Shift+P on the outliner to separate the fluid itself and the emitter.
Press Play:
Change the Emitter and the Fluid box size:
We can modify the emitter settings under the Attribute Editor.
Under “Basic Emitter Attributes” change the “Emitter Type” to Volume and the “Rate” to 280.
Under “Fluid Attributes” change the “Density/voxel/sec” to 25 and the “Fluid Dropoff” to 2.5.
Under “Fluid Emission Turbulence” increase the “Turbulence”, “Turbulence Speed” and “Detail Turbulence”
2D Container Video:
3D Fluid Container:
Create a 3D fluid container and untick “Parent to container”
Under “Basic Emitter Attribute” change the “Emitter Type” to “Volume” and the “Rate” to 300.
Under “FluidShape” -> “Container Properties”, change the “Base Resolution” from 10 to 100.
Below you can see the difference:
Change the settings under “Fluid Emission Turbulence” to the following ones:
The turbulence makes the smoke go in different directions at the beginning of the animation, making it seem more “alive”.
Under the “Container Properties” settings we can change how the emitter will behave when it touches the container’s borders:
Video:
3D Fluid Container omit from object:
Delete the emitter from the previous exercise and insert a Torus into the scene.
Then select both the Torus and Fluid container and go to “Fluids” -> “Add/Edit Contents” -> “Emit from Object”
Result:
Assign a “Surface Shader” to the Torus and choose that the “Out Color” will be “Noise”. Change the “Noise” settings to the following ones:
Copy the name of the noise and paste it Under the emitter “Fluid Attributes” -> “Density Emission Map”. Then the smoke will come out of the white dots.
Result:
Week 12 – AS2 Workshop
This week we had the opportunity to receive feedback and work on our second assessment in class.
Week 13 – Nuke Workshop
2nd Assessment – Title Sequence:
For our second assessment, we were tasked with creating a James Bond-style title sequence in After Effects, using techniques taught in class. I’ll describe my concept and storyline for the title sequence, as well as how I executed it.
The plot of the title sequence revolves around a plot to assassinate the queen, followed by the coronation of a new king. However, it’s revealed that the queen fakes her death and unites with her true love. The sequence concludes with a chessboard scene where the white queen delivers a checkmate to the black king.
Throughout the sequence, I included elements inspired by the title sequence of “No Time to Die,” such as rotating guns, a rotating statue, and mainly, moving circles that run throughout the sequence itself.
I used the “Four Seasons – Winter: I. Allegro Non-Molto (Vivaldi)” (Wednesday”, Netflix) Soundtrack
I used this title sequence as a reference to the one that I have made.
I tried to replicate these scenes:
The Final Version of the Title Sequence:
The Making:
– Moving circles sequence:
1st Composition:
2nd Composition:
Duplicated the composition and changed to colours of the circles:
3rd Composition:
Created a new composition and started to place the previous composition.
A method which I used a lot is Time Remap to control when the circles will be exciting the scene. Also, to change the colour of the circles without editing the original composition, I used a preset named “Fill”.
4th Composition:
Added the 3rd composition into the 4th and added camera movement. I turned on the 3d mode on the 3rd composition so the effect I wanted to achieve would work.
In the end, I adjusted the colours of the circle so it would match the final sequence colour pallet.
– Camera movement at the end of the clip
I copied the camera from the circle composition and pasted it into the final composition.
I turned on the 3D on the compositions I wanted that the camera would be affecting.
I needed to make sure that the compositions would be big enough so their edges won’t be visible once they rotated.
In the final scene of the white queen, I edited the footage in Photoshop to expand the background it.
I turned the composition so it rotated correctly and adjusted the colors to make it colder and more blue, matching the rest of the scene.
– Rotating Guns + Statue + Trident Composition
Rolling Guns
I used this video:
Removed the background using the “Roto brush & refine edge” tool.
Then I resized the composition so it would focus only on one gun, and changed its position accordingly.
I followed this tutorial to create a single gun moving in a spiral:
Created a new composition and added the previous composition 33 times. Changed the starting point of the composition to create the spiral effect.
I made a new composition and put in a red circle that gets bigger. Then, I added a blur effect to the whole scene but used a mask to keep the center clear.
I added a camera to make it look like the camera is going into the spiral.
Made a composition out of it. Then added it to the statue composition.
Statue
I used a clip of a rotating statue with lasers. I added smoke and changed its colour to a slightly reddish hue using Hue & Saturation adjustments. To brighten the scene, I used an adjustment layer. Additionally, I applied a blur effect to give the impression that the camera is focusing on the trident. During the scene, I adjusted the position, rotation, and size of this asset.
The original statue video:
Trident:
I used a PNG image of a trident and put the guns composition inside it using masks. Then, I made it smaller, rotated it, and moved it. To create the illusion of distance, I added blur and made it blue as it moves away from the camera.
– Flying Bullets
I used this video:
I removed the background using the “Extract” tool.
Then replaced the background and did some colour correction.
King Composition – Mirror Effect:
First, I removed the green screen from the original video.
Then I created a new composition and used the “Mirror” effect on an adjustment
I made a new composition and added the one I made before. I changed their colors to black and red using “Fill” effect. Then, I put in a camera and made the composition bigger and rotated it.
Screenshots of clips and assets that I have used:
