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Retouching with the Rubber Stamp tool

From: After Effects CS6 Essential Training

Video: Retouching with the Rubber Stamp tool

As we scrub through the project, you can see I've got some issues here that I could definitely use the Clone Stamp tool to fix. For example, this hair that appears to be on the lens and this dirt that's up here; notice as I scrub when the turbine goes by, it overlaps. That could be problematic. But we can fix it relatively easily with the Clone Stamp tool. Now the Clone Stamp tool is driven by the Paint Engine in After Effects. So the way that works, you have to double- click the layer to open up the Layer panel.

Retouching with the Rubber Stamp tool

As we scrub through the project, you can see I've got some issues here that I could definitely use the Clone Stamp tool to fix. For example, this hair that appears to be on the lens and this dirt that's up here; notice as I scrub when the turbine goes by, it overlaps. That could be problematic. But we can fix it relatively easily with the Clone Stamp tool. Now the Clone Stamp tool is driven by the Paint Engine in After Effects. So the way that works, you have to double- click the layer to open up the Layer panel.

So if we double-click, here we have a Layer panel window, and in here, we could paint with our Clone Stamp tool. But since this is a paint function, if you go to the Workspace pulldown, notice there is a Paint option. So let's change our workspace to Paint. Now that we're in Paint, you can see on the left, we have the Composition Viewer and then right here, we have the Layer panel. So within the Layer panel itself, we can actually paint once we grab our Clone tool.

So go up to the Clone Stamp tool in your Tool palette and select it. Let's look over to the right here, and notice we have some options for the paint. Right here, 100% Opacity, that means as we paint, it will be 100% opaque. This is the next thing you need to pay attention to. If you click on that, notice the Brushes panel becomes active. So let's make that a little more dominant. You can see in the Brushes panel, you can make the diameter of the brush smaller or larger depending upon what you're going to paint.

So I'm going to click and drag on the diameter, and set it up to around 27. Now these other options are kind of fun but they're pretty self-explanatory. Let's just jump down to the Hardness one. If you click and drag on Hardness, notice the edges of the brush will get more sharp. Well when you're dealing with painting something like a sky that has variable colors of blue, you don't want a hard-edged brush. So let's change the Hardness down to 0. Now Spacing deals with painting over a long area and we're not going to have to worry about that, so we'll just leave the Spacing set at 25.

Now let's move the Brushes panel back down so we can see some of our Clone Options. I want you to note that we're painting on a Normal blend mode, and we are going to paint on all the channels; the Red, the Green, the Blue, and the Alpha. You can paint just on RGB or Alpha, and the Duration is set to Constant. You'll understand what that means as soon as we get started. So let's get started painting. When you paint, you want your Magnification to be set at 100%. So go to the lower-left corner of the Layer Viewer, change it to 100%, and I'm going to press the Spacebar, and click and drag to get back over to the left side here.

The way the Clone Stamp tool works, you need to press Option to choose where the pixels are being sampled from. So hold Option and click, and then let go of Option and now when I start painting, you'll see a Plus symbol that shows me where I'm sampling those pixels from. Now notice I just painted one section of this. That's because I don't want one big stroke going around because of all the varying shades of blue. So sometimes it makes sense to do multiple strokes.

So this time, I'll sample from over here, Option+Click, and then paint the upper portion. On this side, I'm going to Option+ Click and just paint this last portion. Notice in the timeline here, my current-time indicator was set at 7 seconds 23 frames. If I scroll through the layer, you can see something is happening before this time. Well let's make the layer a little larger and I want to scroll up here and collapse this section right here called Clone 3. Let's collapse it.

We can collapse Clone 2 and Clone 1, because notice, this actually determines whether the paint stroke is really there. What we need to do is make this the entire length of the comp. An easy way to do this is to select all three Clone Stamp layers, and click on the left edge of one of them, and bring it all the way to the front of the composition. I'm going to press Home to move my current-time indicator to the start of the composition and let's expand Clone 3 so you can see what you can do with the Clone Stamp tool.

If I select Clone 3, here let me bring my viewer up here a little bit more. I'm going to press the Spacebar so we can focus on this one brushstroke. Now I'm going to scroll down so we can see Clone 3. Okay. In here, notice it's actually created a path, and you can see that path in my Layer Viewer. I could animate the start or the end of that path. So you can actually animate the stroke. We could adjust the Diameter of the Angle, the Hardness, all these brush options that we had in the Brushes panel, we could change after the fact.

So this is really, really cool. The rest of these options are pretty straightforward, but the one down here I want to point out is Clone Time Shift. This is fascinating, because you can sample from earlier or later frames in the timeline. For example, if I was painting a brushstroke at 1 second, I could Option+Click, and when I paint, I could be sampling from 1 second earlier. So frame 0 could be painting on frame 1 as I'm using the Clone Stamp tool.

I think that's pretty cool. Another thing to be aware, when you have the Clone Strokes selected in the timeline, if you come back up and start painting again, that stroke will be replaced. So it's really important that we scroll up, and just select layer 1, or as a matter of fact, double-click layer 1 to make sure that the Layer panel is active. Now we can continue painting paint- strokes, but let's expand our Layer Viewer here and just scrub, and you can see now that one hair is completely gone out of our scene, just gone.

By all means, you can feel free to retouch some other areas as you identify them, but let's press the Spacebar, and drag over to the right side of our viewer. Up here, this is the area that I want to show you a different technique to dealing with. So move your current-time indicator down to around 8 seconds one frame. Notice the blade of our turbine is overlapping the piece of dirt. Here, let's expand our Paint panel again.

We can't paint with a constant duration because it's going to paint over the blade. See, if I use Page Up and Page Down to step through the frames, notice that would be problematic. So what we need to do is go through, and set a Duration of Single Frame. Now with Single Frame set, you want to paint anytime you think the blade is getting close to our dirt. So if we say Page Down right here, I definitely want to paint this. So I'm going to Option+Click right on the blade, and then when I go to paint up here, I'm going to paint over that area.

Now I can Option+Click and paint here as well just to get rid of that. Now that looks pretty good. If we page up, you can see there's before and there's the next frame; Page Down. Now if we Page Down again, you could see we still have to do some Clone Stamping. So let's Option+Click, and fix that, and again, I'm going to Option+Click on the blade, and just extend it a little more. Now that one didn't line up, so I'm going to Command+Z to undo, and give it one more shot; Option+Click, and okay.

Let's undo that last time, and we'll try one last time. Okay, there we go! So I could Option+Click and make the paintbrush a little smaller to deal with this one edge, but you get the idea. You can be very precise in the paint. So now as I Page Up and Page Down, notice, I've got the blade going over, and my dirt is appearing and disappearing. What do you do about all the other frames? I don't want to have to repaint each one of these frames.

So what you do is move your current-time indicator to the last time, the turbine blade crossed the dirt. So here, what I'm going to do is set my Duration to Constant, and I'm going to Option+Click, and paint this one area. Now if we look in the timeline, here I'm going to bring the timeline up, you can see with the Duration set to Constant, since my current-time indicator was down the timeline, it's not starting till right here. Now let's look at this specific area.

As we move down the timeline back to our problem area where we had the Clone Stamp, see this constant duration is giving me an issue. So what I need to do is trim the out point of this constant brushstroke. So here, there we go. So as you can see, even with this constant stroke, I may have to just trim this one extra frame, and then, paint one more with the Single Frame retouch.

So let's Option+Click, Single Frame. Okay. Now as we step through, you can see it's covered and we have our constant brushstroke beforehand, and our individual frames afterwards. So when you're done with your edit, and all the different Clone Stamp strokes, if we zoom in here, notice you'll have ones that exist over very short periods of time as well as the other ones that exist over the entire length of the composition.

So I definitely encourage you to follow this up by going through and retouching this one area every time the blade crosses. I think you'll be really surprised and pleased at how fast and powerful it is to work with the Clone Stamp tool.

Show transcript

This video is part of

Image for After Effects CS6 Essential Training
After Effects CS6 Essential Training

78 video lessons · 55010 viewers

Ian Robinson
Author

 
Expand all | Collapse all
  1. 1m 8s
    1. What is After Effects?
      1m 8s
  2. 2m 53s
    1. Welcome
      1m 40s
    2. Using the exercise files
      1m 13s
  3. 1h 8m
    1. The six foundations of AE
      5m 3s
    2. Introducing the interface and the workspace
      7m 51s
    3. Understanding compositions
      8m 48s
    4. Getting comfortable with layers
      7m 33s
    5. Getting started with animation and keyframes
      8m 30s
    6. Understanding effects
      3m 26s
    7. Moving in 3D space
      7m 41s
    8. Rendering your first animation
      8m 20s
    9. Specifying preferences and cache settings
      5m 44s
    10. Staying organized
      5m 15s
  4. 38m 6s
    1. Creating compositions
      7m 19s
    2. Importing footage and compositions
      7m 54s
    3. Preparing compositions for animation
      8m 7s
    4. Introducing renderers
      3m 15s
    5. Understanding precomposing
      7m 16s
    6. Relinking missing footage
      4m 15s
  5. 59m 58s
    1. Defining layers
      6m 23s
    2. Creating type
      5m 58s
    3. Creating layer solids and shapes with masks
      7m 55s
    4. Building shape layers
      6m 17s
    5. Understanding switches and blend modes
      8m 26s
    6. Crafting custom shapes and masks
      6m 18s
    7. Creating variable-width feathered masks
      5m 1s
    8. Rotoscoping with the Roto Brush
      8m 20s
    9. Refining with the Roto Brush
      5m 20s
  6. 1h 8m
    1. Understanding keyframes
      6m 1s
    2. Adding and adjusting keyframes
      9m 54s
    3. Interpolating keyframes
      8m 5s
    4. Adjusting keyframes in the Graph Editor
      7m 17s
    5. Understanding positional keyframes
      7m 0s
    6. Controlling animation with parenting and the pick whip
      9m 57s
    7. Understanding animation paths
      6m 27s
    8. Timing to audio
      4m 41s
    9. Trimming and sliding edits
      5m 31s
    10. Swapping images
      4m 1s
  7. 29m 7s
    1. Layering multiple effects
      9m 13s
    2. Generating graphic effects with adjustment layers
      7m 28s
    3. Building backgrounds with effects
      6m 50s
    4. Creating animated strokes
      5m 36s
  8. 40m 15s
    1. Introducing cameras
      10m 3s
    2. Working with 3D layers
      6m 37s
    3. Positioning layers
      6m 13s
    4. Adding lights and working with Material Options
      9m 21s
    5. Using 3D precompositions
      2m 5s
    6. Adjusting depth of field
      5m 56s
  9. 28m 31s
    1. Caching and prerendering
      6m 33s
    2. Understanding the alpha channels
      5m 18s
    3. Using the Render Queue
      4m 34s
    4. Rendering with Adobe Media Encoder
      7m 15s
    5. Archiving finished projects
      4m 51s
  10. 44m 27s
    1. Creating type animators
      12m 16s
    2. Animating type in 3D space
      6m 35s
    3. Adding and animating type on a path
      8m 45s
    4. Composing 3D type
      8m 41s
    5. Animating shape layers
      8m 10s
  11. 32m 45s
    1. Creating stylized video
      6m 47s
    2. Retiming video footage
      9m 31s
    3. Retouching with the Rubber Stamp tool
      10m 19s
    4. Smoothing shaky camera footage
      6m 8s
  12. 14m 19s
    1. Understanding keying
      3m 19s
    2. Creating a garbage mask
      4m 27s
    3. Getting started with Keylight
      6m 33s
  13. 15m 56s
    1. Importing Photoshop documents
      6m 11s
    2. Importing Illustrator files
      4m 24s
    3. Working With Premiere Pro projects
      5m 21s
  14. 1h 15m
    1. Adjusting ray-tracing quality
      8m 19s
    2. Tracking footage
      8m 15s
    3. Extruding shapes
      8m 39s
    4. Bending layers
      8m 38s
    5. Adjusting ray-traced lighting and materials
      9m 22s
    6. Adding environment maps
      4m 58s
    7. Beginning compositing
      8m 52s
    8. Creating render passes
      10m 17s
    9. Building a final composite
      8m 14s
  15. 1m 8s
    1. What's next
      1m 8s

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