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Guys before you start walking around skipping for the whole duration of the video I would like to show

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you what's happening in the timeline.

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If it's caught down here.

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You will notice that you have a series of strokes.

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They're all grouped under strokes over here.

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And you have a edgy refinement for example your foreground.

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And you have background.

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Let's go to the first stroke we have put in the foreground one.

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So what is it say Rotto brush.

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Which means it's going to give you a brush stroke here just like the brush tool or the it is a tool

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for example you will get certain strokes the foreground strokes are the ones that are selecting your

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foreground your background strokes are the ones that are selecting your background as is it.

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This is a very nice by the way to work with this once.

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So actually you have properties for each stroke.

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You have the stroke option for example.

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You can even scrub through it.

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That is a kind of path if you like you can any metal you can change the diameter the angle the hardness.

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OK.

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All these properties you can come over and play with them.

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And also for the background strokes you'll have exactly the same you have the stroke options with all

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the properties that you can even and emit.

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So it becomes actually pretty interesting to work with them.

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I must confess it's quite advanced as quite hard to adjust them from you.

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But nevertheless if you come to the time line you will notice that these are the strokes and each one

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of them is one frame long.

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Now we want to go ahead and propagate all our strokes for the duration of the video and more when after

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effect selected a background we want to de-select this background so with a background stroke and went

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after the fact did not select the foreground we are going to add another foreground a stroke and we

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go on until the end of the footage.

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We're not here you have a bar which has some kind of arrows.

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This is going forward.

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It means after effects we'll work 20 frames at a time but this go to 20 frames actually is exactly 20

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frames.

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That is the steps if you like 20 frames at a time and you have the green.

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This has been around so how do you work.

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Why some people decide to press spacebar and to play.

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So aftereffects would render according to The Strokes but I don't prefer to go a frame at a time and

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believe me when you go a frame at a time it would be much easier because you can see exactly what's

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happening and you don't have to go back and forth and try to figure out what after effect missed.

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So I would click on the play head in the player and just press down.

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Notice that after effects has moved the strokes with the four down another page down and it's still

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ok.

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Everything is selected in its right way foreground and background.

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Gone.

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Here you are until we find a certain problem.

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For example I don't know is doing very well until now.

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You are going to miss this hair but I'm gonna go for it.

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Miss it is no problem.

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And we go on.

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So not is there is a green line over here.

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This means this has been rendered.

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Let's go ahead again.

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And here are some problems are going to start which is over here.

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It's your choice to start selecting this one or give it until it becomes a bit bigger.

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Maybe if necessary I will leave it.

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It's not OK.

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Then we look at the camera the face and everything we want the boundaries to be quite correct.

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OK.

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That's another one.

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I'm doing it.

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I'm waiting for it to render.

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I just press paged out.

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You wanted to render what's happening here.

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Now we are at 20 frames and the arrows have finished.

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Well I can come over and that's what I usually do and study them just to the end.

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I don't care.

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And then start going again.

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They sit down for each one of them.

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And look if I have any problems.

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What.

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This is a very good way to work because you will spot the problem and fix it immediately.

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You don't have to wait for you know I did and it has played where is the problem here you are I'm going

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to go a bit faster and this is our first problem over here.

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OK.

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You're not here.

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We have a background SELEKTAH do we need to de-select this one.

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I will pitch up meaning backward then forward.

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OK starting from this flip I pressed alt and zoom in and then press control to make the brush very small.

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And I'm at the bottom here so I press to remove.

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I'm going to select this area OK.

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Notice it has selected very well.

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Now you know when you have a trouble area maybe you want to go down and look at this trouble area and

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then in others there is no more trouble.

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I think he got it ok after I got it.

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So now I would zoom out ok and go backward.

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Right.

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OK.

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This is how I walk you might invite them either way.

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It's OK.

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And I'm not saying here that the camera is not being selected.

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If I go to the Ulfar you will notice that there is something wrong with the on this.

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Go for it zoom here.

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And yes I was right.

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So I'm going to select this part of the camera OK that's fine now and not in the time line it has added

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at the time what am a foreground and the background the background was before.

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Now let's go back to 100 percent and go down again.

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Well we're starting to have some problems.

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OK.

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You know this area over here.

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I'll zoom in.

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I need to go up and here you on a place for negative or removing background.

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Just select this area and hopefully it will do a good job.

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Excellent job.

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If you notice I'll go back to 100 percent.

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And I think we still cool everywhere else.

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And if you're not here we have a problem with the camera again.

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But I want to go back and make sure I didn't notice this problem before so I will zoom in.

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Not that the camera is not selected as we select the camera.

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OK guys see what's going to happen.

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Select this part of the camera and the fingers here.

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Maybe you need to do two three passes year.

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We want this finger OK.

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It's called a bit fine.

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I'm zooming out now.

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And let's go page up and notice did we do any mistake.

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OK.

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We'll call here go down.

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Still the camera is being de-selected at this frame so I'm going to do is to zoom in here.

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OK.

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And select and stay zoomed in over here and then go down.

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OK.

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Not just exactly what's happening.

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But I've got to go back and here you are.

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The camera has been eaten up and at least selected more OK.

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And you know the problem is coming from the fine edges here.

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So I'm going to make sure that I'm selecting the very right.

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And again and I hope aftereffects would get it this time.

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I'm pretty fine in this area here makes the camera a bit distorted.

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Can only move it.

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Cool.

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Let's zoom out a bit just a bit.

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Go big.

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So we are going to start again.

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Of.

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Here you are.

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Everything is fine.

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I hope so.

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Then go page down.

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And here you are now is working very fine.

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Now you have this area here that has appeared.

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Let's go page up and it starts from here.

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So I'm going to press alt and remove this area and hopefully it will work really fine.

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OK.

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My stroke has been very bad.

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But actually it worked.

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I'm going to add this piece here about at all.

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I'm doing a good job right guys.

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Talking to you also.

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So I'm going to go another frame down.

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And here you are we have another problem here.

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Let's try to remove this one.

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I doubt it would be removed well aftereffects doing great job.

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Let's go down again.

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OK.

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So now it seems fine we can focus on this one and go down and look here.

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Here it seems very good.

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And then we go page down and page down.

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OK guys so you have to go page down until the end of the composition.

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But now you can simply zoom at 100 percent OK if you want to do a short cut press but and after that

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we start searching and rendering and trying to do it as best as possible.

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You need to stop it as soon as you find a mistake.

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Don't go to the end and then find a mistake like we have a mistake over here.

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But I'm going to let it go.

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We are almost at the end.

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OK.

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So now it has completed but we still have this mistake we don't need to take it off.

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It's just over here so let's see where it started.

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It started just here.

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OK.

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So from here I'm going to zoom in and of course I'm going to use the negative one selecting foreground

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or selecting foreground.

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And here you are.

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I'm going to go page down and see exactly if it's going to grab it a bit more.

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You know this has happened because the colors here are very similar.

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So I'm going to go again.

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It seems it's working fine yes.

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So one single connection is enough to do it for all the other frames.

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OK.

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Breastpin but the zoom at 100 percent again.

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And I think we are very cool doing this rotoscoping.

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So we still need to render this green line has to come till the end.

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So actually it would render in the background.

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And it would come till the end.

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Here you are not this is going to work fine.

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Let's go to the opposition now and see exactly if you have done a good job.

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You are at best best bought and it's pretty cool actually it's very good job considering that I was

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trying to talk to you.

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And stories like this I've done a very good job and I hope guys will copy me and you go easy on it don't

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go pressing SPUs body you know Rush be meticulous and you will not have any problems you know for the

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whole video.

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That's very cool.

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Fine.

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So now that you have done the of Scott being we have the photograph vertically full of I think lecture

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lecture we add video of background and adjust the colors.

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So you then.