2. Arrange the shots in COMPOSITION following the tutorial video.
3. Variations: Pre-compose FLICK, JUMPING shots in different compositions, hence the two shots both need masking.
4. JUMPING shot: Use only the few frames that character floating in air.
5. JUMPING composition: Try time stretching to decide appropriate duration.
6. To match size/shape with BUMPING shot, apply Puppet tool to JUMPING’s composition, and add keyframes size/position.
7. Add adjustment layer to match colour for all layers.
Process
I downloaded all the footage provided by Mr. Martin, then proceed to use the Keylight effect (Figure 3.2) to remove the blue background behind the flickering hand (Figure 3.1) by selecting the blue colour with the Eyedropper tool.
Figure 3.1 Flickering hand in front of blue screen
Figure 3.2 Keylight Effect in Adobe After Effects
I imported all the downloaded footages into Adobe After Effects and rearranged them in the correct sequence. Then, I trimmed the last video and placed some the earlier ones at the front to make it look like a looped video. I placed the jumping shot of the girl, then scaled it and keyframed its position to make it look like she was being flicked away by the hand.
Figure 3.3 Arranged & trimmed footages
To remove the background from the jumping shot, I double-clicked the layer and used the Roto Brush tool to isolate the subject. I then made further refinements to clean up the edges and ensure it aligned well with the bumping shot.
Figure 3.4 Removing background with Roto Brush (Sped up snippet)
I applied motion blur to the jumping shot to make the movement feel more natural.
Figure 3.5 Applied motion blur effect
Final Outcome
Figure 3.6 Flick hit the wall effect
Week 10: VFX Tutorial
Mr. Martin asked us to look for a VFX tutorial to prepare for our final shooting and editing project, where we’re required to build a story around the effect. So, we did a trial shoot and recreated the ghoul eye VFX based on the tutorial we found. I will explain the process of creating this effect later on.
Produce a Visual Effects or Stop Motion video based on a given theme. Use voice-over, sound effects, and music to tell a compelling story. Limit the video to 2 characters, 2 locations, and 1 event, within 15 shots.
1. Storyboard must be approved before principal shooting.
2. Final video (digital format): - 1080p, 16:9 - 24/25fps, Progressive Scan - Audio: 48kHz, 16-bit stereo - Format: H.264
Choosing Topic
For this project, I teamed up with Daphne Lai. To decide on a topic, each team had to draw a card through a randomised lucky spin. Our team got card number 17: The Star, and our topic was 'What is going against you?'.
"The Star tarot card represents hope, renewal, and spiritual clarity, especially after difficult times. Upright, it brings a sense of calm, purpose and faith in what’s possible.
When reversed, it signals emotional disconnection and feeling uninspired by work, relationships, or personal goals. You may feel stuck in routine or drained of meaning. This card invites you to reflect, care for your inner self, and reconnect with what truly fulfills you, a gentle reminder that your light still exists, even in moments of doubt." Source: The Star Tarot Card Meanings
Figure 3.9 Chosen tarot card
Proposal (Finalised)
After finalising our topic, we developed a proposal to present our concept to Mr. Martin for approval. This allowed us to confirm that the plot direction was appropriate and that our planned shot sizes were suitable for the narrative.
Figure 3.10 Final Project Proposal PDF
Shooting Process
We conducted the shoot at the campus computer lab around 8 PM to take advantage of the low lighting and create a darker atmosphere to stay consistent with the story's setting: late at night in a dim campus classroom. To emphasise a cold, uneasy mood, we used the bluish glow from the computer screens as our primary light source.
Figure 3.11 Behind the scenes
Editing Process
For the ghoul eye VFX, I used Track Motion feature to track the movement of the pupil and stored the tracking data in a null object layer.
Figure 3.12 Track motion in Adobe After Effects
I created a red solid layer, masked it using the Pen Tool, changed the layer's blending mode to overlay and applied feathering to soften the edges for a more natural appearance. I then positioned the solid over the pupil and parented it to the null object so it follows the movement of the pupil.
Figure 3.13 Red overlay on pupil
I duplicated the original footage (named it 'Toilet Eye 2') and used a black solid layer as a track matte. This solid layer was masked using the same pupil shape and also parented to the null object to maintain keep it moves with the pupil. I then set the Toilet Eye 2 layer’s Track Matte to Alpha Matte: Black Solid, so that only the pupil area remains visible. This step ensures the adjustment layers applied below do not affect the pupil region.
Figure 3.14 Alpha matte setup to isolate the pupil in Adobe After Effects
To make the sclera area dark, I created an adjustment layer below the duplicated pupil created and adjust the curves on it to darken the sclera.
Figure 3.15 Adjusting curves in Adobe After Effects
Additional effects such as Curves, Tint, and Unsharp Mask were applied to the adjustment layer to make the darkened area blend more naturally with the surrounding.
Figure 3.16 Effects applied to enhance and blend the darkened pupil area in Adobe After Effects
I added the black skin area by using the Pen Tool to mask the adjustment layer, and darkened it using a combination of effects to ensure the darkened area better match the surrounding skin tone.
Figure 3.17 Creating black skin area in Adobe After Effects
To create the ghoul’s eye on the desktop screen in Figure 3.18, I used a close-up footage of the actor’s eye and repeated the same process as mentioned above.
Figure 3.18 Ghoul's eye on screen (Screenshot from final edited video)
Figure 3.19 Close-up of actor's eye
I removed the skin part of the actor and edited the ghoul's eye on the laptop screen.
Figure 3.20 Removing actor's skin using Keylight Effect in Adobe After Effects
After completing the VFXs in Adobe After Effects, I imported all the VFX clips and filmed footage into Adobe Premiere Pro.
Figure 3.21 Project Panel in Adobe Premiere Pro
After that, I set the sequence settings by adjusting the frame size to 1920 × 1080 pixels (16:9 aspect ratio).
Figure 3.22 Sequence settings in Adobe Premiere Pro
I arranged and assembled the individual scenes and shots in the Timeline Panel. Then, trimmed off the unnecessary segments. We reviewed the video and made further adjustments to ensure the pacing aligned with the overall rhythm and tone of the short film.
Figure 3.23 Timeline panel
The eyedropper tool was used to correct white balance. I compared the darker and brighter shots side by side and adjusted their brightness levels using Lumetri Scopes to achieve balanced exposure throughout the video.
Figure 3.24 Color correction
I matched the colour of both scenes using RGB Curves, turned on Comparison View for easier reference.
Figure 3.25 Color correction with RGB curves
Figures 3.26 and 3.27 below show a comparison between the footage before and after colour grading.
Figure 3.26 Before color grading
Figure 3.27 After color grading
We went with a greenish-blue and darker tone to reflect the uneasy and heavy feeling throughout the story, since the theme revolves around inner struggle and self-doubt. The cold colour grading helps bring out that sense of emotional pressure and isolation the character is going through.
Figure 3.28 Bluish greenish color grading
Due to the challenges of editing remotely, we divided the post-production tasks. I was responsible for the visual components, including videography, trimming and VFX. For a detailed documentation of the sound design and SFX process, please refer to Daphne Lai’s blog here.
Through this final project, we went through a full production process, from ideating the concept to shooting and post-production. The difference from previous task was that we had to shoot using a mobile phone with a tripod. We also had to set up our own venue, propose the idea, plan out shot sizes and angles, and draw a keyframe storyboard to guide the shoot.
There were definitely some difficulties along the way, like having to film within a tight schedule, and struggling to split the editing process since we couldn't gather in person (we live quite far apart). But we managed to work it out, Daphne took full charge of the sound design, including background music and SFX, while I handled the visual part: trimming footage, assembling the sequence and adding the VFX. We also checked in on each other's parts, Daphne gave a lot of helpful suggestions for improving the colour grading and I helped with checking the sound. It was nice having another pair of eyes on things.
Filming at night on campus was a really fun and memorable experience. We even roped in Emily (who was working on the Stop Motion nearby) to cameo as the ghoul that appears behind Daphne in one of the scenes.
Overall, this project really helped me improve my skills in Adobe After Effects and Premiere Pro. I became more confident in assembling scenes, applying and refining VFX and adjusting colour grading to match the intended mood. Working with Daphne was a great experience, we were on the same page throughout, which made the whole process feel smooth and collaborative. I also learned the value of clear task delegation and regular check-ins, especially when working remotely.
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