[Michael Szalapski]

There is the Reshape effect. It lets you take stuff from the shape of one mask and squeeze it into the shape of another. So, you’d simply need to resize the “from” mask around the new text each time.

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[Michael Szalapski]

He didn’t spell it out, but the suggestion is right.

Save your AE video as frames in an image sequence and use an action to batch apply the filter in Photoshop to all your frames.

Alternatively, (depending on how well it works), you can just load your video into PS and apply the filter there.

– The Great Szalam
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[Michael Szalapski]

He’s not using After Effects at all to do it. The Adobe forum thread talks about the software he is using. We’re just talking about ways you could do similar things in AE. 🙂

– The Great Szalam
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No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

In the future, you might check out Ray Dynamic Color. It’s a very handy tool that does this and a lot more.

– The Great Szalam
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[Michael Szalapski]

You don’t need to do it in a precomp anymore if you’re using a newer version of After Effects. You can simply point the Displacement Map effect at the layer with the Fractal effects, blurs, etc. and tell the Displacement map to use the layer with effects and masks and not just the layer source (it’s the second dropdown to the right of the layer picking dropdown).
It makes it easier/faster to iterate on things since you don’t have to keep diving into and out of precomps.

– The Great Szalam
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[Michael Szalapski]

The latest version of Trapcode Particular from Red Giant Software has some basic fluid simulation options that might also get you some motion like this.

– The Great Szalam
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No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

It’s opening your footage in the layer panel (which is a very important technical difference from being a second composition window). It lets you control things like masks and paint strokes regardless of the layer’s transformations and effects in the composition.

So, it is useful, but not for you compared to the annoyance of it happening inadvertently so frequently!

Now, there is a preference to change whether it opens in the layer panel or the source footage panel, but not one to disable the double-click functionality entirely.

You could make a request over at the After Effects uservoice page (found here: https://adobe-video.uservoice.com/forums/911311-after-effects ) and maybe they’ll add that functionality. In the meantime, you might consider adjusting the double click speed in your Wacom settings to be a lot faster. I basically don’t double-tap at all to get a double-click, but instead use the button on the pen to activate the double-click functionality.

– The Great Szalam
(The \’Great\’ stands for \’Not So Great, in fact, Extremely Humble\’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

To add on to what Dave said, it’s part of the UI team trying to make all the CC apps similar to each other. (For…reasons?) It’s frustrated a lot of people. I believe there’s a request over on the official After Effects uservoice page to make a preference option to remove it. You might add your vote there. ☺
https://adobe-video.uservoice.com/forums/911311-after-effects/suggestions/35740588-ae-cc-2019-remove-or-move-home-button-in-toolbar

– The Great Szalam
(The \’Great\’ stands for \’Not So Great, in fact, Extremely Humble\’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

So, you would use two different layers. One would be the person and the other would be their hair. It is very, very common to key parts separately like this.

You could push the colors around on a channel to pull a luma matte based on the green channel as suggested or use the Extract effect to try to pull a luma key directly. Either way, this looks like it should be pretty decent. Good thing the talent wasn’t blond!

In the future, hopefully you can suggest to whoever is shooting your green screen to actually get the talent ON the green screen! lol

– The Great Szalam
(The \’Great\’ stands for \’Not So Great, in fact, Extremely Humble\’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.

[Michael Szalapski]

There are light burst and blur effects that might do what you want, but you’ll have to animate multiple parameters within a couple different effects simultaneously to get that flickering lens flare (or you could just get a lens flare plugin like Optical Flares or Knoll Light Factory).
As to the red, gassy stuff, the shockwave tutorial already suggested would be a good place to start.

– The Great Szalam
(The \’Great\’ stands for \’Not So Great, in fact, Extremely Humble\’)

No trees were harmed in the creation of this message, but several thousand electrons were mildly inconvenienced.