View Full Version : Gatorade "Is It In You" Sweat. How?

08-14-2004, 09:49 PM
Alright, I wanna spoof the Gatorade is-it-in-you sweat commercials, but I have absolutely no clue how I would go about doing this. Is there a way to do this in AE? Or how about Commotion? Anyone? Ideas?


08-17-2004, 06:25 AM
The most logical way would be to rotoscope the color onto a video clip of someone sweating profusely. On the shooting side, have a water spray bottle nearby and hose the people's face before you shoot... Also, make sure you're careful lighting it because you want those water beads to really pop.

In AE, rotoscope a color layer on top of it (it will take a looooooong time though), and play with your transfer modes (perhaps "color" would look nice). Also, set your background video clip to black & white (hue/saturation to 0).

Experiment and post some examples of what you come up with! :)

08-17-2004, 05:12 PM
Alright, I'll give it a whirl. I've never tried rotoscoping before. What's the basic process?

Phil, effectively using 2% of AE on a regular basis.

08-18-2004, 12:56 PM
Duplicate your layer. Make the bottom black n white. Double click the top one then trace a sweat bead with the pen tool. Now add a wee bit of feather (maybe 3 pixels) and eneter a keyframe. Now you can go through and set keyframes as needed.

I think there were done with a DiVinci 2k though.

08-19-2004, 07:24 AM
I think there were done with a DiVinci 2k though.

Yeah no doubt the actual commercial was done on a highend like Flame or Inferno, DaVinci, etc...

...but that's not to say you can't mimic it and get a great variation of it in AE.

09-03-2004, 11:44 AM
In case you were still wondering, I saw a clip of the Gatorade ad in one of Discreets SFX programs- one of the more expensive ones. You'll have to look at their reels for it.

I would suggest, to save time (maybe), make a film strip type file of the clip. In this case, you probably wouldn't want to have a long clip but if you're doing this without much experience or budget then the best plan is to just give the viewer enough time to see that there's colored sweat, but not nearly enough time to examine it.
But yeah, make a film strip and color it in Photoshop. It's a little difficult to avoid flickering, but when was the last time anyone had fun rotoscoping??

09-03-2004, 03:43 PM
I did today.
Sure beats diggin ditches anyway.

09-09-2004, 04:51 PM

That's me rotoscoping myself the old-fashioned way, frame by frame in Photoshop, multiple layers per effect, 6 hours of editing for 3 seconds of film. But the effect is good.

10-10-2004, 07:17 PM
I would suggest motion-tracking the sweat-drops, and apply the motion to your masks. If you do what Kai says and really light it well (so points of light are in each drop), AE will have no prob locking onto them. There would be some manual adjusting needed (as always), but it could save you hours of roto time.

I've done that trick extensively with tracking eyes, and later applying interesting effects to the pupils.

10-12-2004, 02:39 PM
Interesting. Might I inquire as to what sort of things you were doing to the eyes? You piqued my interest! :D

10-12-2004, 06:30 PM
We've been doing a lot of strange pupil effects lately (along the lines of "Riddick"). Enhancement, distortion, adding points of light. Motion-tracking saves many, many hours of painful work (although when the actor blinks, it throws the tracker off).

10-12-2004, 07:19 PM
do you have any stills? I'm curious!

10-21-2004, 02:30 AM
hey curugon,

2-part question. You said you motion tracked eyes to do stuff to the pupils. I need to do the same thing, changing an actor's eye color (in both far and close shots). Is this easy?

2nd) How do you "motion-track" something. I don't want you to have to write every little step, but I'm an advanced beginner user and would find this trick incredibly helpful.

thanks in advance,

10-21-2004, 01:20 PM
It's an easy process once you've got it down.

In AE, bring the length of footage into the timeline, and under the Animation window, select "Motion Tracker/Stabilizer." You must have at least two layers available: 1, your source footage and 2, the layer which will be composited (even if it's an adjustment layer).

In the Tracker window, be sure to select "Track" instead of Stabilize. Click n' drag the box crosshair onto the subject's eye, enlarging or shrinking it to match the pupil, more of less. You are not tracking rotation, so don't select that box.

Click Options. Select the layer you are applying the motion data to (not the source footage!). For subpixel matching, here's the rule: fast-moving objects, like cars, get lower fractions (1/2), while slow-moving, more precise objects require higher (1/64) - in this case go for higher. Go ahead and close Options, and then click Analyze. Watch the magic (or horror). If the tracking looks suitable, click Apply.

You'll probably need to play with the other functions in the Options window for best results, but that's the general idea.

10-21-2004, 01:23 PM
Once the data is applied to, say, an adjustment layer, you need to roto a circle that fits the pupil, slightly feathered. Once you've applied the motrack data, DO NOT adjust the position or scale of the adj layer (it has tons of keyframes you don't want to mess with). Instead, use the Anchor Point or a Parent Layer to fine-tune the position. The circular mask should follow the pupil correctly.

Repeat process for 2nd eye. Apply filters according to your tastes.

11-03-2004, 02:39 AM
rotoscoping is a bitaach!

11-14-2004, 01:55 AM
im confuse

Rich Lee
11-14-2004, 09:01 PM
im confuse

yes that happens.....

it takes time...start by just doing some simple effects before you get into crazy stuff....go to barnes and nobles or borders or where ever and get a book on after effects...do the tutorials.