How to create the Spider-Man web shooter effect
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How to create the Spider-Man web shooter effect

“Underoos” In today’s HitFilm tutorial we’re showing
you how you can become the webslinger by modifying lightning. Before we dive-in, if you’re following the
camera transition portion of this tutorial, you’ll need two shots; one wide, and the
other handheld. It’s important to remember to try to align the two as much as possible
to keep this effect smooth. Use key features of the location as a reference for what you’ll
match later. With that out of the way, let’s get ‘thwipping’. I have the first part of this effect already
set in the timeline, this is the wide shot and main web action. The first thing we’ll
need to do is track the point for the web-shooters entry. But first, It’s always a good habit
to look over your footage before beginning a track. Skim the timeline for an appropriate
position, for me I’ll be starting from the end of the motion, going back to the start.
Go to the new layer icon and generate a point layer, this is where our tracking data will
end up eventually. On your footage layer, open the dropdown and under Track, we’ll press
the plus icon and Hitfilm will open the tracker. Now by using the windows we’ll place them
around the area and track. For this shot, as it’s a small movement and due to the
motion blur, I’ll be going frame-by-frame, manually moving the windows when needed. With this type of shot we won’t be altering
the rotation or scale, but bare this in mind if you need these properties your own pieces.
Once happy with the motion, in the Layer drop down, find our point and apply to that layer. The first effect we’ll make is the puff
of smoke that usually comes from the web-shooters as they go off. In the effects window, go
into quick 3d and find Smoke, you can drag this straight onto the timeline, as Hitfilm
will generate a layer. I’m going to alter this in position & scale to the placement
I’m after, and let’s parent this to our tracking layer before we dive in too deep. By going into the Controls tab and opening
the smoke drop down, we can begin altering this into a small puff. This may alter for
your own work, but we’ll raise the density and lower the gravity. Lower the linger & apply
some variation. To recreate the burst, we need the speed to be quite high, so I raised
mine to 1000, with variation of 1800. The important part, however, is the size value.
First, slide the beginning of this layer to the point you’d like the effect activated.
We’re now going to keyframe the size to have a rapid spike. So at the beginning of
the layer, set a keyframe at a value of around 200, and after about 5 or 6 frames, set another
keyframe, this time at zero. This creates a small, little puff. Let’s add a new plane, and we’ll name this
‘webbing’. Under Particles & Simulation, we’ll find Lightning & Electricity. Apply
this to our Webbing layer. To save ourselves stumbling in the dark, lets apply a demult
from the Keying effects. Open the Lightning dropdown, go into Glow and lower the opacity
down to zero. Let’s also go into Branches and bring the total down to 2. For the position of the webs we’ll be using
the tracking point for the beginning, while keyframing the end position. Open the Start
dropdown and set the point values to 0, 0. With that corrected, we can now use the data
from another layer. Set this to our tracking point. Skim through to ensure your lightning is now
connected. Open the ‘End’ dropdown. By using either the point values or anchor, move
it to the location of origin. When aligned, drop down a keyframe. Move forward a few frames
on the timeline and drop down another, this time we’ll move the anchor above the frame.
This is to appear it’s grabbing the top handle of the camera. Though, as you may have
noticed, the web doesn’t appear to look closer. To solve this, keyframe the width
to increase with the motion of the lightning growth.
You should now have the basis of our web motion, but now let’s make things a little tense…
with the web. I realize that was creepy. You’ll see at the top settings we have Wave
and Twitch Scales, and by animating these down to zero alongside our growth, we can
give the impression of tension on impact with the camera.
On a whole, our web is still looking like lightning, so to add textures we’ll first
start with a fractal noise from the generate folder. I ended up using a ‘Solar’ preset,
scaling it down and removing the color, but you may wish to experiment for your own edits.
For additional detail, you can go into Stylize and find, Solarize. This tool inverts the
layer in a unique way which, while experimenting, I found to add that extra detail I was after.
For even more detail, grab a Curves from the Color Correction panel, and crush the colors
to bring out the shadows. To help aid in the motion, we’ll apply a
zoom blur. We can find under the Blur tools. I ended up using the preset of subtle. Followed
by a lens blur for additional softening. We’ll be faking our camera zoom for the pull,
for which we’ll be needing a point to act as the master controller for all layers involved.
Go to the new layer icon and select ‘Point’, and by pressing F2 on the keyboard we can
rename this Master Controller. Parent the Footage & other tracking point
to this controller, no need for the web, as this will follow with the layer it’s already
connected with. At the beginning of the impact animation, add a keyframe for the position
and scale. Import your handheld footage into the timeline
and trim into position. As you can see from my footage I pulled the camera into this corner,
so by using the Master Controller I’ll now use scale and position to align this as closely
as I can to match the framing. The pull is now animated, but let’s add more of an impact.
Highlight the layers and set them to smooth from the keyframe icons above the timeline.
With this set we can now go into the value graph and increase the velocity of the pull.
Select the values and use the handles to create a steep inclined slope. To really increase
the sense of speed, activate Motion Blur to your layers For a final touch, generate a new grade layer,
name it ‘Shake’. Under the Grunge tools, you’ll find Shake, apply this to the new
layer and Keyframe the amount to increase and decrease over the course of the motion. You can now do whatever a spider can. Thanks for watching, if you have any questions
please leave them in the comment section down below. Don’t forget to like, ring the bell
for notifications and of course subscribe. And remember, there’s a reason Spider-Man
wears spandex.


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