Clever Tagline: Animated soccer schedule (January 22, 2020)



  • @jsbarrett That's a truly great transition effect you created there.  If I wasn't already subscribed to your channel that would definitely have earned one.  I don't use transitions like that a lot in Hitfilm (I still have Studio 19 with a ton of them and it's far easier for me export the video with transitions from there into Hitfilm on that rare occasion) but I can see where creating them in HF will be useful at some point.

  •  jsbarrett This is awesome! Is it ok if I share this with the community our official Twitter and Facebook? :)

  • @OliThompson he'd say no? ;-)

    I kid. It's courteous to ask. jsbarrett really did put that together nicely.

  • @OliThompson Absolutely! Thanks! 

    And a belated thank you to everyone else who has commented on this latest quick tip. I'm starting to settle into a groove with these things, and really enjoy making them. 

  • edited September 2017

    Wow, great work you got going there!

    I'm pretty new to HF...... (and video editing software in general)

    I have a cool idea that you might be interested in for a future video. This is something I have been working on for a while. I'm using it for a recent 50-mile hike I did with some friends. I have the map image, 6 shoe print images, and all I did was keyframe them. It's following a sort of Indiana Jones Style with the twist of the Harry Potter map scenes (see the second link below). Even after a lot of work, the shoe prints don't like to stay in place.

    Maybe you could do a tutorial on this in the future. Thanks in advance for any help. Here is the link to my video:

    Here is the ideal look for the footsteps, skip to about 0:45:

  • Thanks @Platinum8000 !  The footsteps-walking-on-a-map look is a classic, and I think you have a pretty good start on it.  The trick to keeping the feet from sliding is actually far easier than you might realize, and would make a super-quick video.  I wouldn't want to make you wait for me to produce it, so I'll just lay it out here in one line:

    Parent your feet layers to the map.

    That's it!  As the map moves, the feet stay in place relative to the map's movement, while still leaving you full control over each foot so you can reposition it when it's time to recycle the step.  If you use the Constant keyframe type on each foot's Position keyframes, you won't have to worry about accidental drift due to surrounding keyframes.  This should make your work MUCH easier!

  • jsbarrett Thanks! I've scheduled it to go up over the weekend :)

  • I definitely won't be recording VO for new quick tips any time soon...

    Now I'm really glad that I didn't lock myself into a shorter production schedule.

  • Oh no! That sounds really bad!

    I will be praying for you :)

  • @jsbarrett  When you said the right side of your throat was swollen it immediately made me think of Mumps.  I know you can get them on one side or the other or both sides.  But to my knowledge (which is limited, for sure) you can only get them once in your life.  I had them when I was 3 but you may have dodged that bullet during childhood.  Now they have a vaccine for them but I don't know if it can wear off.  They can be really serious for adults and teenagers.  Just throwing that out there in case.  I hope you get better soon.

  • @HIS__Films Thanks!

    @tddavis I don't believe I've had mumps before. I'll bring that up when I manage to see a doctor.

  • edited September 2017

    Thanks for this. GREAT JOB! Saved me quite a bit of time figuring this out on my own. ......


    Thanks again!

  • Sounds great, Cowboy Bob, but your video won't play. YT says it's unavailable.

  • edited September 2017

    I reviewed your example and it looks like you did the same thing and somehow I missed it. So I Just dropped the comments andvideo.  Here it is

  • Great tip, thanks. Good old Set Matte coming in handy again.

  • Played around this morning with a cell division technique that came to mind the other day. Only one cell was animated. The rest are the result of clever processing. ;)

    Yes, I know that red blood cells do not divide, but I wanted an interesting environment for this cell division test, and that's just where it ended up. It would've been nice to keep the cells from lining up in a perfect grid, but the grid arrangement is pretty much a given with the technique I was testing, so I used displacement to break things up a little.


  • Hmmm... I'd be interested to know how you went about this. I have some guesses, but, aside from the tile filter, I don't think they're correct. 


  • Its a great effect, the Grid does ruin it a tad for me. Shame, nice otherwise.

  • edited September 2017

    @Triem23 No Tile filter. :) I tried Tile, but couldn't get it to do what I needed, so I went with another.

    I'm happy to share my process, but am trying to decide what would be most useful: typing out an outline of my steps, or turning this into a Quick Tip episode.  IMO I don't see this having the broad appeal of some other tip videos (I mean cell division is not exactly something that comes up a lot in tutorial wish lists), but it might still have some value as a way to encourage people to thinking about uncommon ways to use HitFilm's features and effects, which is one of my goals with the Clever Tagline channel.

  • Personally I can take your typed up outline, I'll see something you can add, share it, that will spark something completely new in your brain, and you'll end up doing the quick tip, but I'm obviously speculating. 


  • edited September 2017

    Well, if it's like I do it: it could be some Blur and then some Crush Alpha, like I used for my 'fake' extrusion?

    You can make some nice liquid effects and then use Emboss, and Displacement to get a wet look on the surface too. I accidentally made some rain on glass messing about with some fractal noise doing that. ;)

  • edited September 2017

    Okay, here's the rundown. I'm not going to go into the nitty-gritty of every piece, just the basics.  The most detail will be about the bits relevant to the cell division technique.

    Start with an image of a single cell.  In my case, I made it in a comp, then exported a PNG so later steps would process more quickly.  The key here is that the cell image has to be perfectly circular, and perfectly symmetrical.  There are ways to modify the next steps to avoid this so you can use a more detailed cell, but it means extra work, and I didn't feel like doing that for various reasons.

    The main headers below are the names of the comps I created in the order I made them.

    Splitting Cells Level 1
    Length: 2 seconds

    Drop the cell image into this comp. Add two points.  I named mine "Mover" and "Scaler."  Parent Scaler to Mover, and the cell to Scaler.  I mainly did this so I could easily replace the cell image and keep the rest intact.

    Add a grade layer above the cell layer.  Onto that grade layer, add two Reflection effects.  The top one should have an angle of 0.  The bottom one has an angle of 180.

    Animate the Position property of the Mover point to have the cell slide left to -480 within one second, then up to 270 by the end.  The Scale property is unlocked and animated for the squash-and-stretch of the cell.  Once this is done, the reflection effects will make the first move split the cell in two, and the second move splits the two into four.

    Animate the Scale property of the Scaler point.  As the cell slides left, it should scale from 100% to 75%.  As it slides up, it should scale from 75% to 50%.

    Splitting Cells Final
    Length: 8 sec

    Drop Splitting Cells Level 1 into this comp.  Duplicate it, and rename the duplicate Splitting Cells Level 2.  Drag Level 2 to the right so that it starts right after Level 1 ends.  Onto Level 2, drop the Spherical Warp effect.  Set its Amount to 0, Scale to 50%, and both Shift Texture X and Shift Texture Y to 0.5 (this shift feature is what Tile wouldn't do).  As you scrub between the end of Level 1 and the beginning of Level 2, they should match perfectly.  Assuming this works, select the Level 2 layer, right-click, and choose Make Composite Shot, making sure to choose "Move with Layer" for effects and such.

    Duplicate the Level 2 layer, and change the number to 3.  Do the same thing to 3 that you did to 2: drag it so it starts right after the layer above it ends, add Spherical Warp with the same settings, then make a comp out of it and move the effects with it.

    Do this one more time for a fourth level.

    When this is finished, playing through the full comp should go from one cell to a 16x16 array of tiny cells.

    The rest is just the "gravy" on top of this basic effect.  The particles on top of and behind the cells are from fractal noise layers with the Starfield preset.  A grade layer was added above almost everything, with the Spherical Warp effect applied to it: Amount 0, Scale 100%, Y shift 0, X shift animated to create the continuous slide from left to right.  Distortion was also added to this grade layer, using a hidden fractal noise layer as the source.  Finally, this comp was dropped into yet another comp, where I added the background (fractal noise on the Fluid setting) and the Vignette Exposure effect to darken the top and bottom edges.

  • edited September 2017

    Gah, I wasn't even close and your cells look like cells. I think mine were mutant jelly sweets. Always multiple ways to skin a cat in Hitfilm. :)

  • Thank you @jsbarrett that is super helpful:)

  • edited September 2017

    After stumbling across something odd on Twitter the other day, I had a strange idea for a channel promo come to mind.  This is the result.  I'm thinking of making this the header video for my Clever Tagline channel, but wanted to get feedback before I made it public.  All opinions welcome!

  • Love it. Cut, print, publish! 

  • edited September 2017

    When I saw that new 'trend' in a paper a few days ago I had to check the date wasn't April 1st, because it looked like someone had used a warp effect on a photo to see how many people would be gullible enough to take it seriously and ask a 'salon' to do it for them :D

     I also loved it lots, but of course: I have notes. :)

    If you don't want to know what they are then look away now. ;)

    Was the payoff big enough? Later...

    BIG Likes: The melting letters (got some ideas about how, will have to have a play... but you nailed it first, so props for that.  :) ) , but...the SERIOUSLY was on too long for me before it turned into SRSLY. The NO EYEBROWS into NO BRO was a much cleverer twist and is about the right amount of time to go "Wait, what? Ah! Nice one!"

    Kerning on "ONL  Y" ? If it's the font's fault: fix it manually?

    Then the payoff.... bright white Hitfilm text (after some Set Mattes) wasn't quite selling "Hitfilm looks great and cool and powerful! I want to know more!" for me.

    Plus it being so close to both sides of the screen just makes me itch.

    Couldn't you 'Marvel' it up a bit with some (more) flipping inside the letters for longer, or each individual letter doing something more "Hitfilmy"? Like Twirling, Morphing, Star Trek Transporting, Laser slashing, Exploding, Blood Splattering, Bullet hitting, (Page turning on the 'I') Whooshing, Zooming? All cool stuff that will (possibly) later show up in tutorials?

    Might be a bit clickbaity if you never intend do those sorts of thing, but you might, and you can chuck in a lot of Starfields or inkblot Set Matte merges etc. into those letters and they'll look more engaging.

    The ending was a bit too 'on the nose' and pretty long to end on a "fooled you! Ha ha!".  :(

    Perhaps it needs to subverted half way through with a record Scratch sound, the screen being pushed off sideways (it can fight back for a few frames) by another screen with something like "We can do better than that... stay tuned" sort of vibe on it, or something funnier because most of your other videos have a humorous slant to them?

  • Thanks as always for the analysys, @Palacono.  :)

    Glad you liked the melting letters!  (Don't read the rest of this paragraph if you're still playing on your own and don't want to know my version just yet.)  It's actually a pretty easy process: displacement driven by stretched fractal noise, Y axis counter-motion (to counter the parts of the displacement that move up), a touch of blur, and reducing opacity.

    Strange that you liked the timing on the transition from NO EYEBROWS to NO BROS, but not the similar one before it, considering that they're timed (as far as I can tell) exactly the same.  I simply used the timing of the music track to drive everything.  In fact, I picked the music track before I'd even decided on the specific details of the middle section.

    Kerning issues normally jump out at me, but for some reason that one didn't. However, now that you mention it, I see the same issue at the end of SERIOUSL Y.  And now it's going to bug me forever.

    My goal wasn't to show off HitFilm, so I'm not surprised that the big hit on HitFilm didn't grab you.  In fact, the upcoming tutorials I have on my list are most definitely NOT like anything you recommended.  Most of my quick tips are going to be just that: quick tips for mostly new and intermediate users of HitFilm, and most of them will probably lean more towards motion graphics than VFX.  I appreciate well-crafted VFX, but I currently have next to zero interest in making that stuff myself.

    Getting back to why I made it, the whole thing is one big gag, really.  It starts out as though I'm going to do a tutorial about wavy eyebrows, but then that little text-only "commentary" character that I (almost arbitrarily) added in the first video noisily "reminds" me in action-trailer style that the channel is focused toward HitFilm.  In short, it's a mini-version of what people will see in the Quick Tip videos: I do my tutorial thing, and this other character comments on whatever I do.  True, first-time viewers of this video won't pick up on that immediately, but that's the general feeling I wanted.  Just something silly that got people to at least smile a little, know the basic gist of the channel (HitFilm), and with any luck have a desire to check out more.

    As for the closing lines, yeah, it's definitely "on the nose," but that's one of the first things that came to mind when I heard the closing hits of that soundtrack, and try as I might, I couldn't think of anything funnier.  (It probably didn't help that I did most of my work on it late at night.)

    I'll openly admit that this whole thing was rushed.  I knew that I had very little time to work on it around my work schedule, so I admittedly didn't scrutinize it as closely as I could have.  But I had fun, and now I've learned a few things (thank you!), and it's time to move on to whatever's next.

  • edited September 2017

    Hadn't started on the dissolve, but was thinking: Displacement, offset Angle Blur and crush Alpha. Your method seems like it might be more flexible.

    I preferred the NO BRO timing because there was more to think about. Like a page with more text needs to display for longer than one with less.

    But, thinking about it further, it's probably on 2nd or 3rd watch I thought that as I was by then dismissing the SRSLY version as 'only losing letters' and the first time I watched it was novel enough to warrant the same amount of 'brain time', so I now retract that suggestion. :) 

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