IntroductionWelcome| 00:04 | Hi, I'm Lee Lanier, and welcome to VFX Techniques:
Crowd Replication with After Effects.
| | 00:11 | In this course we'll combine video footage,
3D renders, and Photoshop artwork in After Effects
| | 00:16 | to create a complex visual effect shot.
| | 00:18 | This will turn an otherwise empty
warehouse into a space filled with a large crowd.
| | 00:23 | I'll start by showing you how to set up an
After Effects project and import image sequences.
| | 00:27 | Then I'll show you how to apply motion track
into renders, video footage, and static artwork
| | 00:32 | so that all the elements follow
the motion of the original camera.
| | 00:36 | We'll see how the key green screen
footage supplies actors in the scene.
| | 00:39 | This includes color grading the
crowd and relighting the environment.
| | 00:43 | Now, let's get started with VFX Techniques:
Crowd Replication with After Effects.
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| Using the exercise files| 00:00 | If you are a Premium Member of
the lynda.com library, you have access to
| | 00:04 | the exercise files used throughout this title.
| | 00:07 | The exercise files are arranged in several
additional folders within the exercise files folder.
| | 00:12 | These are divided between After Effects
files, Static Artwork created
| | 00:17 | in Photoshop, video footage converted to
image sequences, Maya Scene files,
| | 00:22 | various renders created in After Effects,
and 3D renders created in Maya.
| | 00:27 | You will be asked to import various files
into After Effects throughout this course.
| | 00:32 | You'll use the files to build a composition to
create a large crowd in an otherwise empty warehouse.
| | 00:37 | If you don't have access to the exercise files,
you can still apply the discussed techniques
| | 00:42 | on your own assets.
Let's get started.
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1. Getting StartedThe breakdown of the final composition| 00:00 | Before we get started, I would like to show you a preview
of the major steps we will be taking in this course.
| | 00:05 | So first, we will stabilize and eventually
we will motion track other pieces of footage.
| | 00:10 | One common task of visual effects work is
integrating 3D renders with live action footage.
| | 00:15 | One important aspect of that is to make sure that the
3D renders take on the same camera movement as the footage.
| | 00:21 | The techniques can be applied to a
wide range of visual effects work.
| | 00:25 | The goal is to fill up an otherwise
empty warehouse with a large crowd.
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| Reviewing image sequences| 00:00 | Throughout this course you will
be asked to import image sequences.
| | 00:04 | Image sequences are a
series of numbered still images.
| | 00:08 | These are often used in
the visual effects industry.
| | 00:10 | They have certain advantages, for example, they
are progressive, each frame is whole by itself.
| | 00:16 | There is no potential for
interlacing like you might have in video.
| | 00:20 | In addition, they are very easy to manage.
| | 00:22 | If you need to re-render something, you don't
have to worry about rendering the entire movie.
| | 00:26 | Like QuickTime can be
rendered just a few frames.
| | 00:30 | Many times when you work with video footage,
it comes in a form of QuickTime movie or an
| | 00:34 | AVI or something similar.
| | 00:36 | If that's the case, then those need
to be converted to image sequences.
| | 00:40 | The sequences for this course have
been provided to you. I want to show you how to
| | 00:44 | convert your own movie into an image sequence.
| | 00:48 | There is a test movie you can try this on,
right here in the exercise files folder.
| | 00:52 | Let's give it a try.
| | 00:54 | File > Import > File,
a brand-new After Effects project.
| | 00:56 | Let me we go to the Footage folder and go to
Test.mov, this is a QuickTime,
| | 01:03 | open that, and here it is in the Project tab.
| | 01:06 | What I can do is just drag it right down
to the timeline, which is currently empty.
| | 01:10 | When I do that, I get a brand-new
composition that has a correct resolution, frame rate,
| | 01:16 | and duration to match that movie, and it's
just a matter of adding it to the Render Queue.
| | 01:21 | To do that I can highlight that composition,
go up to Composition > Add to Render Queue.
| | 01:28 | That puts a new render in the queue,
and you get the Render Queue tab.
| | 01:33 | Instead of rendering now into QuickTime,
I am going to go to the Output Module, click
| | 01:37 | the word Lossless, and pick an image sequence format,
and these are just some type of still image format.
| | 01:44 | For instance, you can render out a PNG
Sequence, and in fact, if you do want to render out
| | 01:49 | a sequence, it says the word
Sequence after that option.
| | 01:52 | Let's try PNG Sequence, click OK, and
then choose a place to render this out.
| | 01:59 | You can just click the word Test here,
that brings up a browser and find a place to render this.
| | 02:06 | It could be a new folder or
a folder you already have.
| | 02:08 | I am going to go to my Desktop and
create a New folder just to try this.
| | 02:14 | I am going to call that folder Test, and go
into Test, where it is empty right now, and
| | 02:21 | then choose a proper name.
| | 02:22 | The way it works with the Render Queue is
when you are doing image sequences, you have
| | 02:25 | a name, some pound signs, and two
brackets, then dot, and the extension.
| | 02:31 | The name could be anything. I am
going to call my Name Test.
| | 02:35 | I need to leave the
brackets and the pound signs.
| | 02:39 | The pound signs represent
the numeric placeholders.
| | 02:42 | For example, when it finally renders, they will
be named Test.001.png, Test.002.png, and so on.
| | 02:50 | Let's go ahead and put it in this format here,
and I will render it out, and we will take
| | 02:55 | a look at the final result.
| | 02:58 | Once you have the location chosen
and the proper name, click Save.
| | 03:03 | Once you have these two things set, the
Output Module and the Output To, you can go ahead
| | 03:07 | and click the Render button.
| | 03:09 | This will take a few minutes or a few seconds,
but the render will go through the QuickTime
| | 03:15 | one frame at a time
until it gets to the very end.
| | 03:20 | Once it is finished, you will here a little
chime, and that yellow bar has disappeared.
| | 03:24 | Now we can go back and import that and take a
look at and see what the image sequence looks like.
| | 03:29 | I am going to File > Import > File and navigate to
my New Folder on the Desktop, which is called Test.
| | 03:38 | Inside that folder is a whole series of images and
they are going to be numbered based on the timeline.
| | 03:43 | In my case, they go from 000 all
the way up to 199 for 200 frames.
| | 03:51 | You can bring in all these image sequences
in as a single unit by clicking on the first
| | 03:56 | frame, making sure that the Sequence check
box is on and then clicking Open.
| | 04:01 | Those 200 frames come in as a single piece which
you can place on a layer in one swift movement.
| | 04:08 | So there you go.
| | 04:09 | That's how you convert a
movie into an image sequence.
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| Setting up the project in After Effects| 00:00 | We are now ready to start working in After Effects.
I have After Effects CS6 open right now.
| | 00:05 | It's just an empty project,
there is nothing in it.
| | 00:08 | We can use this to import
background footage and get started.
| | 00:11 | As we discussed, image sequences are often
used in visual effects work, and we are going
| | 00:15 | to bring in our first image sequence.
| | 00:17 | When we work with sequences, it is important
to make sure we pay attention to the resolution,
| | 00:22 | the frames per second, and the duration.
| | 00:24 | We can get started by
going up to File > Import > File.
| | 00:29 | And even though image sequence is composed
of many individual files, we could bring those
| | 00:33 | in as a single unit in After Effects.
| | 00:35 | I want to navigate to my Footage folder and
within that folder is a folder called WideSpeaker,
| | 00:41 | in this sort of background, image
sequence was converted from the original video.
| | 00:46 | When you are working with the image sequence,
all you have to do is to click on the very
| | 00:50 | first frame of the
sequence, in this case 000.png.
| | 00:54 | Once you click on the very first one, you
will see that in the lower left-hand corner
| | 00:58 | of this window, there is a PNG Sequence
check box, and this is checked automatically.
| | 01:02 | This will be different based on the type of file
you are working with, it could be TIFF or TARGA.
| | 01:07 | In this case, it is PNG.
| | 01:09 | Now as long as this is checked, what we will
do is bring in the entire image sequence as
| | 01:14 | a single unit, which makes
them much easier to work with.
| | 01:16 | So that's checked, so I
can go ahead and click Open.
| | 01:20 | The image sequence comes in as a single piece.
| | 01:23 | And then look up here at the top, in here
you will see the resolution, the duration,
| | 01:28 | and the frame rate, or the frames per second.
| | 01:31 | In terms of duration, in this case it's read
out in the frames, which is really good for
| | 01:36 | working with visual effects.
This is not a default setting for After Effects.
| | 01:41 | If you don't see this, there is a way to
change that to make sure it reads frames.
| | 01:45 | If it looks different, it might be in timecode.
| | 01:48 | The way to check this or to fix this
is to go up to File > Project Settings.
| | 01:53 | In the very first option up here
at the top is Time Display Style.
| | 01:59 | By default, it's Timecode.
| | 02:02 | We want to work in Frames, so if you don't see
the Frames just click Frames, and then click OK.
| | 02:06 | So we are looking at duration and frames,
it's 200 frames, it also says 3 frames per second,
| | 02:12 | and that is actually correct in this situation.
The original video is shot 30 frames.
| | 02:17 | Now if this says something differently, or
we are working on some different project,
| | 02:20 | and you want to change its interpretation, you can,
because again, image sequences do not carry a frame rate.
| | 02:26 | You have to make sure that
you interpret that frame rate.
| | 02:28 | What you can do, though, in that situation is
to go down to the footage itself, make sure
| | 02:33 | it is highlighted, you can click on it if you need to,
right-mouse key and go to Interpret Footage and then Main.
| | 02:40 | In this Interpret Footage window, there is
a Frame Rate option where you can force it
| | 02:44 | to interpret the footage
to a certain frame rate.
| | 02:46 | For us, 30 frames per second
is correct, so we are good here.
| | 02:50 | But if you need to, you can change it to something
different, so I am just going to cancel out of this window.
| | 02:56 | In terms of the resolution and
the duration, that's correct.
| | 03:00 | However, we do need to make sure that our
first composition, where we are going to work
| | 03:03 | in the timeline, matches that.
| | 03:05 | There is a trick in After Effects for doing
that, and that is to go ahead and click-drag
| | 03:09 | the Footage, down to the empty timeline.
| | 03:12 | We have timelines down here,
but there is nothing in it.
| | 03:15 | That is why we can't see anything
up here in this Composition window.
| | 03:18 | But if we click-drag this down into the timeline,
and let go, they will appear in the timeline
| | 03:24 | and what it does is it makes a brand-new
composition that matches, and what's great about that
| | 03:28 | trick is the composition will have the same exact
resolution, and frame rate, and duration, as your footage.
| | 03:37 | There is a footage right here,
and there is the composition.
| | 03:40 | Now I can see that image
sequence in the Composition Viewer.
| | 03:44 | If you just choose a regular playback
controls which are at the right here, it's not going
| | 03:49 | to be real-time, it might be too slow
or too fast based on your computer.
| | 03:52 | What you can do, though, is use the RAM button
at the very right here, RAM Preview, click that.
| | 03:58 | What it does is the first time it plays back, it renders
to disk, and that's why you see this green line appearing.
| | 04:05 | Once the green line is there,
it will play in real-time.
| | 04:08 | Now I have stopped it temporarily, but if
you go back and click that button again, as
| | 04:14 | it's playing, that will be real-time.
| | 04:16 | We are now ready to move on and address
some of the other issues in the image sequence.
| | 04:20 | For one, we can remove some of the
jitter by using some Stabilization tools.
| | 04:24 | We are also ready to start constructing
the crowd and start adding set dressing.
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2. Tracking and Integrating RendersRemoving camera jitter| 00:00 | When working with live action footage in
visual effects, there are several camera artifacts
| | 00:04 | you have to be concerned with.
| | 00:06 | One is camera bumps and jitter that
might occur as the camera is moved.
| | 00:11 | The other is compression and noise might be
present just because the nature of the camera,
| | 00:16 | for instance, a video
camera has compression noise.
| | 00:19 | But why should you be concerned about that?
| | 00:22 | Well, in terms of camera bumps, the camera move
might not be smooth enough to make a nice shot.
| | 00:27 | Also, it might make the
motion tracking more difficult.
| | 00:30 | In terms of noise and compression artifacts,
that can also interfere with motion tracking,
| | 00:35 | and in fact, we're going to have to do quite a bit of
motion tracking in this project, because we
| | 00:39 | have to track a number of green screen
plates to build up a crowd for this room.
| | 00:43 | In terms of the camera bumps that can also
interfere with the motion tracking make
| | 00:49 | it more difficult, but, it
just might not look as nice.
| | 00:51 | Let's play this back and take a look.
| | 00:54 | There are definitely some awkward pans as
the camera suddenly moves right or left as
| | 00:59 | the camera is shifted too fast.
| | 01:02 | So one thing we can do in After Effects is
stabilize the plate and stabilization is a
| | 01:06 | variation in motion tracking.
| | 01:07 | First we will stabilize and eventually we
will motion track other pieces of footage.
| | 01:12 | Now you'll notice that inside the footage,
there is a bunch of tape marks on the ground,
| | 01:16 | on the podium, on the C-stands, and on the wall.
| | 01:18 | Those are designed for
stabilization and for motion tracking.
| | 01:22 | We can actually use those to help make
our tools work better in that process.
| | 01:27 | Now before we actually apply stabilization,
it would be nice to remove some of that noise
| | 01:31 | and grain I talked about, which can
interfere with this kind of operation, and then also
| | 01:35 | increase the contrast to allow our
stabilized tool to operate more efficiently.
| | 01:41 | So with the layer selected, I am going to
up to Effect > Noise & Grain > Remove Grain.
| | 01:47 | Remove Grain effect is designed to reduce all that
really tiny noises present in video and film footage.
| | 01:54 | If I zoom in, I can see at the center of
this preview box, which I get automatically is
| | 01:58 | cleaned up, there's not so much noise in
there, compared to where the box does not sit.
| | 02:03 | The default settings for this effect
actually work in the situation so what I can do is
| | 02:07 | go up to Viewing mode in the Effect Controls
panel and change it from Preview to Final Output.
| | 02:12 | That will apply Remove
Grain to the entire frame.
| | 02:16 | I also mentioned contrast.
| | 02:18 | It would be great to get more contrast on
some of these tracking marks, like this T-mark
| | 02:22 | on the wall on the back is much more visible.
| | 02:24 | I am going to go up to
Effect > Color Correction > Curves.
| | 02:28 | Curves is a great way to interactively
insert additional contrast into a frame.
| | 02:35 | You get a little straight line here by default,
but if you click on it, you can insert new points.
| | 02:40 | And if I move those into a really harsh S
curve like this, I get a lot more contrast.
| | 02:45 | When I zoom in here, my ultimate goal is get
a lot more contrast around these tape marks
| | 02:51 | on the wall, and particularly this top T-mark.
| | 02:53 | So that stands out nice and clear now
with this very extreme type of curve.
| | 02:58 | Now I can apply Stabilization tool.
| | 03:00 | What I am going to do first,
though, is nest the composition.
| | 03:02 | So I am going to go up and create a new
composition, Composition > New Composition.
| | 03:05 | I am going to make that New composition the
same Resolution, the same Frame Rate and same
| | 03:11 | Duration, in this case 1280x720, 30
frames per second, 200 frame duration.
| | 03:16 | I will pick a new name for this at the very
top, I am going to call this Stabilize and
| | 03:21 | click OK, and there is a
brand-new empty composition.
| | 03:25 | I want to actually nest the first comp and
the second comp, so I am going to go back
| | 03:30 | to the Project panel then click-drag and pull
down the WideSpeaker, which is our first comp,
| | 03:35 | into the second composition.
| | 03:37 | When you nest the entire contents of your
nested composition, in this case WideSpeaker,
| | 03:43 | it appears as a single
layer in the second composition.
| | 03:46 | That makes it easy to work with.
| | 03:48 | So now we are going to apply the Stabilize
tool, and in fact, that is a variation of
| | 03:52 | the Motion Tracker tool
that comes with After Effects.
| | 03:54 | So with the layer selected, I can go to Animation >
Track Motion, once I have Track Motion selected,
| | 04:01 | a new panel shows up at the
right here called Tracker.
| | 04:05 | Now part of this is cut off now, so what I
can do is move the center bar up so I can
| | 04:09 | see the entire panel there.
| | 04:12 | Now again, this is the tool that applies
various forms of motion tracking, and in fact, it
| | 04:17 | defaults to the transform type of motion
tracking, which we are going to use quite a bit later.
| | 04:21 | But for now we want to just stabilize.
| | 04:23 | We are going to remove the bumps and jitters.
I am going to change Track Type to Stabilize.
| | 04:30 | Now you know that once you apply the Tracker, the
viewer jumps over to the layer view automatically,
| | 04:35 | and also it provides a Track Point.
| | 04:38 | The Track Point is used to identify
feature which you want to track over time.
| | 04:42 | So what you can do is click-crag in that
Track Point box and place in the center and move
| | 04:48 | it over to the feature you want to track.
| | 04:50 | In fact, I want to track this T-tape mark
over time, I want to see where that goes.
| | 04:55 | I am just zooming in with the middle mouse button
to get closer, and I can interactively drag this box.
| | 05:01 | I'm going to place at the bottom left corner here at
this top tape mark, right here at this intersection.
| | 05:08 | I am on frame 0 now, and I am going
to look at my entire timeline here.
| | 05:13 | So now I have placed this
track point, now I can analyze.
| | 05:17 | Analyzation will try to determine where this
tape mark moves over time, basically, whatever
| | 05:21 | is inside this track point
box is going to track over time.
| | 05:26 | I can now go to my Analyze button, and
here is Analyze Forward just click that.
| | 05:31 | Once I finished this, it will stop, and if
you look closely, you will see there is a
| | 05:35 | motion path below the track point.
| | 05:38 | If I zoom in a little closer, you can see
there is a bunch of keyframes that indicate
| | 05:42 | where that T-tape mark is over time.
| | 05:45 | Now the Stabilize tool is much easier to use
than some of the other tracking variations,
| | 05:49 | because what you can do is apply
that motion path to the same layer.
| | 05:54 | You can apply it to WideSpeaker.
| | 05:55 | What I will do is move that layer around to
try to pin that T-tape mark in the same place
| | 06:02 | over time and thus remove the
fine jitter of the camera movement.
| | 06:05 | In order to apply it, all you need to do
is go down to Apply in the Tracker panel.
| | 06:11 | If I hit Apply, I get this window where it
will ask me if I want to apply any X and Y
| | 06:16 | direction, and I do want to
do that, so I'll click OK.
| | 06:19 | At that point I will jump back to the Composition
window, and it has automatically animated the anchor point.
| | 06:25 | If you expand the Transform
section, you can see all the keyframes.
| | 06:29 | Now if I play it back, you can see that it
moves the entire frame in order to stabilize
| | 06:36 | this T-mark on the wall, but then it
lets gaps open up on the top and bottom.
| | 06:42 | That is good, though. Let's remove all the fine
jitter and some of the bumps out of the camera motion.
| | 06:46 | What you can do now is go back to the
original Composition and turn off those effects we
| | 06:51 | applied, because those were only for
the stabilization, we don't need them now.
| | 06:54 | So I can turn off the fx icon beside Remove Grain and
Curves and get back to our original looking footage.
| | 07:01 | I go back to Stabilize.
| | 07:02 | Even though this is stabilized, we do have
the problem with the gaps opening up on the
| | 07:06 | sides and the bottom, so what we will do to
solve that is to make one additional composition.
| | 07:11 | So, Composition > New Composition,
same size, frame rate, and duration.
| | 07:16 | I will call this one SetDress, because
that's what we will do at later step, click OK, so
| | 07:23 | there is a brand-new composition, and I can
nest the Stabilize comp inside this new comp.
| | 07:30 | And then I can scale that
nested composition up to 103%.
| | 07:34 | I scaled that up by slight amounts, we'll avoid
seeing those gaps open up from the stabilization.
| | 07:41 | So, now if a play it back, there will be a smoother
camera motion, but the edge of frame will be fine.
| | 07:46 | So now that we have stabilized this footage, we
are ready to import additional image sequences,
| | 07:53 | and start set dressing, and
start building up our crowd.
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| Motion tracking CG renders| 00:00 | One common task of visual effects work is
integrating 3D renders with the live action footage.
| | 00:05 | One important aspect of that is to make sure
that the 3D renders take on the same camera
| | 00:09 | movement as the footage.
There are several ways to try to achieve that.
| | 00:14 | One is to try to replicate the camera in the
3D program like Maya, the other is to motion
| | 00:19 | track in the compositor, like After Effects.
We are going to try the latter.
| | 00:23 | So first we need a 3D render.
I am going to go up to File > Import > File.
| | 00:29 | I'm going to go to the Renders
folder and grab the Tubes Render.
| | 00:34 | It's a series a PNG files, so I will
just pick the first frame and click Open.
| | 00:39 | Now we'll take a look at that.
| | 00:41 | These are set of industrial tubes rendered
in Maya to design the matching element at
| | 00:46 | the background that's already there.
| | 00:48 | The camera was set up in Maya to roughly
replicate the original camera in a very simple fashion
| | 00:54 | just in the first and last frame, but
no additional keyframing in the center.
| | 00:59 | So center is not particularly accurate, and just
the first and last frame are somewhat roughed in.
| | 01:03 | Here is the first frame, here is the last
just enough to give some perspective shift.
| | 01:08 | So we are setting the motion track just to
make it really integrate into the background.
| | 01:12 | Let's give it a try. I am going to pull
tubes down to top of the layers stack, return to
| | 01:17 | the Composition View and then determine where I want
the tubes to be and also how I'm going to track those.
| | 01:23 | In order to see the background, I'm going to
reduce the Opacity on that layer to a lower
| | 01:28 | value, so I can take you through the tubes.
| | 01:31 | Now for motion tracking, we are going
to do a transform tracking in this case.
| | 01:35 | I need to pick a tracking mark this close
to the tubes, in fact, these ones in the wall
| | 01:40 | will work fine, in fact, I'm going to use the
T that we used previously for stabilization.
| | 01:44 | Before I apply the action motion tracking
tool, however, I need to make sure the anchor
| | 01:48 | point for that layer is in the correct location.
| | 01:51 | If that layer is selected, which it is,
I can see the anchor point right here.
| | 01:54 | Now ideally, I want the anchor point to be
in the same location as the tracking mark,
| | 02:00 | that way when I apply the tracking data, the
layer won't jump suddenly to some other location.
| | 02:06 | How do you get the anchor
point in the correct location?
| | 02:07 | Well, you can use the Pan Behind tool, which
is this four-arrow tool up here, click that
| | 02:12 | and interactively move it up to the ideal
location, in this case, perhaps to that T mark.
| | 02:18 | Now for tracking, I'm going to place at the
track anchor point right here at the corner
| | 02:23 | of the T, so I want my anchor
point to be in the same location.
| | 02:27 | So why that particular position?
| | 02:29 | Well, high contrast edge is always better to
track in some place that's more solid color,
| | 02:34 | like this, so right here it will be good.
| | 02:36 | Now my anchor point is in the correct location,
I can move on and apply the Motion Tracking tool.
| | 02:40 | So, I am going to go back to my Select tool,
make sure I select my Stabilize layer which
| | 02:47 | I am going to track, then
go to Animation > Track Motion.
| | 02:51 | Once again, the Tracker tab opens, but this
time it opens up with the correct option.
| | 02:55 | We do want the Track Type to be Transform.
| | 02:57 | In this situation we are transform tracking,
which means we are going to track that feature,
| | 03:02 | the T, and how it moves over time in terms of the X
and Y direction, the up, down, left, right direction.
| | 03:08 | We get the track point in the layer View
so we can place that by click-dragging it.
| | 03:13 | I am going to place that at the corner of
the T right here, where the anchor point was.
| | 03:18 | With that in position, I can now analyze the
footage, so I will go down and press Analyze Forward.
| | 03:23 | Once it is finished, it stops, and
you will see the tiny motion path.
| | 03:28 | Now because the play was already stabilized,
the motion path barely moves, but there is still
| | 03:32 | some motion there, which is
worth applying to the tubes.
| | 03:36 | So how do you apply the
tracking data to a different layer?
| | 03:39 | Well, you go down to the Edit Target button
and make sure the correct layer is listed.
| | 03:44 | Now because we only have one other layer,
aside from Stabilize, the correct one is
| | 03:48 | chosen for us, in other words, tubes are
listed so that's good and then click OK.
| | 03:52 | Once the target is set, then I can Apply.
Once again, say OK to X and Y.
| | 04:00 | The view jumps back to the composition, and
if you look at the tubes layer, the position
| | 04:05 | is animated, every single frame is keyframed.
| | 04:09 | If I increased the Opacity, again on
the tubes, so I can play that back.
| | 04:12 | RAM Preview, and we can see that the tubes now
take on some of the motion that the background has.
| | 04:20 | One great thing about After Effects is once
you apply the tracking data, you are not wed
| | 04:23 | to it, you can alter it.
| | 04:25 | Now because the Maya camera is only roughed in,
looks like the tubes are a little too low.
| | 04:29 | They are not really seen
against the background wall.
| | 04:31 | Also, they are starting
to overlap the podium here.
| | 04:34 | So what I can do is offset the anchor
point to get them into a more ideal position.
| | 04:37 | I can interactively slide the anchor
point around to try different position.
| | 04:41 | So I am going to go to the first
frame and try some different position.
| | 04:44 | I think I need the tubes higher up to make
them look like they are closer to the wall.
| | 04:48 | Now after some experimentation, I found
that these values work pretty well, 880, 291.
| | 04:54 | That is a good start position, looks
like they are right against the walls.
| | 05:00 | Now there was still a little bit of slide too.
| | 05:02 | When I played it back, I could see that
because Maya camera is only approximated, it looks
| | 05:05 | like there is a little bit of drift,
a little bit slippage on the tubes.
| | 05:09 | I can also use the anchor point to rectify that.
| | 05:13 | On frame 0, I can go ahead
and key the anchor point.
| | 05:15 | I want to maintain those initial values,
then go to the last frame and then move them so
| | 05:22 | that they look like they
are in the correct location.
| | 05:23 | Again, you can do this interactively.
Now how do you judge this?
| | 05:27 | Well, you just have to compare the tubes that
are rendered to elements in that original footage.
| | 05:32 | They look like they are in the correct
place compared to that background features.
| | 05:35 | For instance, compared to certain marks
on the wall like this white spot here.
| | 05:39 | It might take some experimentation, but after
a little experimentation, I found that these
| | 05:44 | values work well, 877, 297, so just a
slight adjustment of the anchor point.
| | 05:52 | Now if we play it back, it should look
like the tubes are in the scene, that they are
| | 05:56 | against the back wall, and that
they are not slipping or drifting.
| | 06:00 | We are now ready to move on and adjust the
tubes, so they are better integrated in terms
| | 06:05 | of color and also their sharpness.
| | Collapse this transcript |
| Integrating CG renders| 00:00 | One important task when integrating CG
renders with live action footage is making sure that
| | 00:05 | the colors, the blurriness, and
the sharpness are consistent.
| | 00:08 | In our case with the 3D
industrial tubes, they don't match.
| | 00:13 | If you compare those tubes to the tubes that are
originally in the scene, they look very different.
| | 00:18 | The color is off, they look more brown,
also the highlights don't quite match.
| | 00:22 | In addition, they are a bit sharp,
which is often the case with CG renders.
| | 00:26 | What we can do is apply various effects
to try to better integrate these tubes.
| | 00:31 | I am going to go the Tubes layer,
select that then go to Effect.
| | 00:34 | The first thing we can
work on is just the color.
| | 00:37 | So I'll go to Color
Correction and go to Hue/Saturation.
| | 00:42 | So I can spin this color wheel
here to get different colors.
| | 00:45 | We wanted more of a bluish tone, so -210 on the
color wheel for the Master Hue works pretty well.
| | 00:53 | I can also adjust Saturation, so I am going to
reduce that just take out a little bit of the blueness.
| | 00:59 | That's good for the color, it is
more on the correct color space.
| | 01:02 | Now, we can deal with the blurriness.
| | 01:05 | If I zoom in closer, we can see that the render is
fairly sharp, as compared to the blurry real tubes.
| | 01:11 | So to blur the tubes, I
can just grab the Fast Blur.
| | 01:15 | So, Effect > Blur & Sharpness > Fast Blur, and
then I will increase the blurriness to 1.
| | 01:22 | That will soften them just a little bit.
| | 01:24 | Now they are still very bright, so
I'm going to grab a Curves Effect.
| | 01:29 | Effect > Color Correction > Curves.
| | 01:32 | I can bend this curve to darken
it and also adjust the contrast.
| | 01:37 | I will grab the top right point and pull it
down first, and it darkens them, then I will
| | 01:43 | put additional point in the center, and bring
that downwards to give it a little bit more contrast.
| | 01:49 | So it looks like they are
more in the same space now.
| | 01:52 | Now the last thing we can do with the tubes
is try to get them these double highlights.
| | 01:56 | There's couple of things about
the original tubes' highlights.
| | 01:59 | One, the highlights themselves are a bit glowy.
| | 02:02 | The second thing is there are two columns on
each tube, due to two large banks of windows.
| | 02:07 | Our 3D renders do not have that.
First thing I will do is apply a glow.
| | 02:14 | Effect > Stylize > Glow and then adjust
the Glow Threshold, Radius, and Intensity.
| | 02:20 | For Threshold, I am going to try 40%, so
therefore the glow is restricted more to the highlights.
| | 02:28 | Then I will increase the Radius a little bit,
and that broadens the glow area, makes it softer
| | 02:36 | and then I will adjust the Intensity.
| | 02:38 | It seems a bit strong right now, so I
will reduce it to .8, looks pretty good.
| | 02:43 | That doesn't solve our double highlight issue.
| | 02:45 | The trick there would be to duplicate this layer
and offset it to give me a second row of highlights.
| | 02:52 | I am going to select the
Tubes layer, go to Edit > Duplicate.
| | 02:57 | That will copy the entire layer
and all the effects with it.
| | 03:02 | For this Top layer, I am
going to change the blending mode.
| | 03:04 | If you don't see the Blending mode
menu, click the Toggle Switch's button.
| | 03:09 | You should see it right here.
I am going to switch that to Screen.
| | 03:13 | What Screen does, it only takes the highlight,
it only takes the bright areas and puts it
| | 03:19 | over what's below and
throws away the dark areas.
| | 03:21 | So then the tubes get bright overall.
| | 03:24 | What we can do to again isolate the highlight
and make it a double highlight is to go back
| | 03:29 | and adjust the Effects, because all the
effects were copied off when I duplicated the layer.
| | 03:34 | So let's take a look.
Here are the effects.
| | 03:37 | One thing I can adjust is the
Curves to give it a lot more contrast.
| | 03:40 | If I click and bend into a really hard L-shaped
curve, when I do that just the brighter area
| | 03:48 | survive, there's more contrast, so therefore
the highlight is limited on the upper layer.
| | 03:52 | You can also reduce the
Opacity on the upper layer.
| | 03:55 | For example, I can go down to 25%.
| | 03:57 | Now it is still so hard to see, because my
new highlight from the upper layer is over
| | 04:03 | my old one, so the trick here is to offset it, so it
is a little bit to the right and a little bit down.
| | 04:09 | One way to do that is to
offset the anchor point.
| | 04:14 | Because we already have keyframes here, what I
want to do is just offset the current keyframe
| | 04:18 | animation without destroying it.
To do that, I have to go in to the Graph Editor.
| | 04:22 | So I am going to click this Include this property
and graph button, right beside the anchor point, then
| | 04:27 | go to the Graph Editor.
Here are the two curves for X and Y.
| | 04:31 | X is red, and Y is green.
| | 04:33 | I wanted to click-drag a selection mark here with
a green curve, both keyframes at the start and end.
| | 04:41 | Once I have that highlighted, I
can move that Y curve up and down.
| | 04:44 | It changes the value.
| | 04:46 | You can see that the second
new highlight has been offset.
| | 04:50 | Somewhere a little bit down in Y, and then I
will click off that and select the X keyframes
| | 04:58 | and then I can move the X keyframes
which will slide to the left or right.
| | 05:02 | I am trying to get a little bit
down, a little bit to the right.
| | 05:05 | Again, the reason is that weak areas the
opacity is lower, and also the blur amount on screen.
| | 05:10 | So if we zoom out, we can see the tubes from our
Maya render now match our background much better.
| | 05:16 | We are now ready to move on
and import additional 3D renders.
| | Collapse this transcript |
| Adding multiple trackers| 00:00 | So far we have applied
motion tracking to 3D renders.
| | 00:03 | You can also apply motion
tracking to static artwork.
| | 00:06 | Let's give that a try.
| | 00:08 | I would like to import a solar panel piece
of art and place on the right here, but then
| | 00:13 | have it adopt the camera motion.
| | 00:15 | So I will get the artwork first, File > Import >
File, and instead of going to Footage, I will go
| | 00:22 | to the Artwork folder and open SolarPanels.tga.
| | 00:26 | This is just a static piece
of art created in Photoshop.
| | 00:29 | When you open it, because it has the Alpha
channel, it gives me the Interpret Footage window.
| | 00:34 | In general, I want to select Premultiplied
here to guarantee the best Alpha matte edges.
| | 00:40 | It is set to that, so I can press OK.
Now Alpha is also an issue with image sequences.
| | 00:45 | In fact, the tubes render also has Alpha,
but because it was a PNG, that window did
| | 00:50 | not open when we imported it.
| | 00:53 | We can always double check the Alpha interpretation
by right-mouse clicking over the image sequence
| | 00:58 | in the Project panel, going to
Interpret Footage, and going to Main.
| | 01:01 | Up here at the top are the Alpha options.
| | 01:05 | In my case, it is set to Premultiplied
which is ideal, and in most cases when bringing
| | 01:09 | in the render from Maya, you
want to pick Premultiplied.
| | 01:12 | However, if yours says Straight, which is the
default, you probably want to switch it over.
| | 01:16 | So there is Premultiplied, I can
click OK or press Enter, close the window.
| | 01:22 | Let's go back to the
solar panels. Here they are.
| | 01:24 | I am going to drag those down
to the top of the layers stack.
| | 01:27 | We will see them at the right.
| | 01:29 | There are actually two sets, the one
on the right and the one on the left.
| | 01:32 | I want to just keep the ones in the right.
| | 01:34 | So here is the case where I need to draw a
mask to separate out this set over here.
| | 01:38 | So with that layer selected, I'll go to my Pen
tool and then click to draw a mask, four times
| | 01:45 | to create a rectangle just loosely and then
finish where I started to close that mask.
| | 01:51 | When it is closed, that part is
isolated and the rest gets cut out.
| | 01:57 | In order to motion track this, you
need to first find something to track.
| | 02:01 | Because I want to put the solar panel here
at the middle ground where the stands are,
| | 02:05 | it would be better to use a tracking mark
on the stand and not the background wall.
| | 02:10 | So if I reduce the Opacity on the panel, I can see
through it, and indeed, here are some tracking tape marks.
| | 02:19 | This one looks good right
here, this V-shaped tape mark.
| | 02:21 | I will go ahead and move my
anchor point to that position.
| | 02:24 | I'll grab the Pan Behind tool and move it over.
| | 02:28 | I'll place the rights in the elbow where
it is high contrast. Okay, that's set.
| | 02:36 | Now I can apply some motion tracking.
| | 02:38 | I am going to go back down to my Stabilize
layer, go to Animation > Track Motion, this
| | 02:44 | will create a brand-new tracker.
| | 02:46 | If I look in the Tracker tab,
it says Current Track: Tracker 2.
| | 02:52 | The one previously done was Tracker 1, now we are
on a brand-new one, and this has its own Track Point.
| | 02:58 | So once I am back in the layer viewer, I can
place this Track Points in the elbow of that
| | 03:03 | V-shaped tape mark and then
analyze, and I will go forward.
| | 03:08 | Once it is finished, it will stop,
and you will see a nice motion path.
| | 03:12 | Now the reason the path is much longer than the
one we got for the wall that we did previously
| | 03:17 | is because this middle ground is moving much faster
due to parallax, in other words, the perspective shift.
| | 03:23 | So there's a nice good track.
Now, we can apply it to the solar panels.
| | 03:27 | To do that, I have to go down to Edit Target,
click Edit Target, I have to make sure that
| | 03:32 | solar panels is listed, which it
is click OK, and then hit Apply.
| | 03:38 | Yes to X and Y, it jumps back to the
Composition View, and now the panels are tracked.
| | 03:45 | If I look at the panels layer, the
position is automatically animated.
| | 03:49 | If I return the Opacity to a high number,
I can play it back and see how it looks.
| | 03:57 | Okay so that's motion tracking pretty
well, look's like it's in the scene.
| | 04:02 | Because it's static artwork and doesn't
have any kind of camera move, for instance, in
| | 04:05 | comparison to the Maya render where you did
previously for the tubes, we don't have to offset it.
| | 04:10 | The applied tracking is good to go.
| | 04:13 | The next step then would be to adjust the
colors and the blurriness just like we did
| | 04:17 | with the tubes to try to integrate
these panels into the background better.
| | 04:21 | In fact, we can take a shortcut by
copying the effects from the tubes layer.
| | 04:25 | So I go down to Lower Tubes layer, go to the Effect
Controls panel and then Shift-click all these effects.
| | 04:33 | Once I have them highlighted, I can go to
Edit > Copy, then select the solar panels layer,
| | 04:39 | then go to Edit > Paste.
| | 04:42 | All the effects are pasted in
with all their old settings.
| | 04:45 | Now the old settings make it look a little funny,
it's all red now, so we do have to adjust them.
| | 04:50 | For the Hue/Saturation, I am going to return
the Master Hue to 0, which makes them blue again.
| | 04:56 | I will also adjust the Saturation
here to -60, to make them less blue.
| | 05:02 | Now I go onto the next
effect, which is Fast Blur.
| | 05:06 | Now because this particular piece of artwork
has tons of tiny lines in it and tiny patterns,
| | 05:10 | it probably would be good to increase
the blur a little bit just to soften it.
| | 05:15 | You can also adjust the Curves to make the
quality as good as possible in terms of the
| | 05:20 | color and the brightness and contrast.
| | 05:22 | In this case, I think I will make a little S-
curve to give more contrast, but not make it too dark.
| | 05:29 | Now the one effect that doesn't
really work in this case is the Glow.
| | 05:31 | What is happening here is the glow is
putting kind of a dark fuzzy edge on it.
| | 05:36 | It actually works for the tubes, because
the tubes are against the back wall, and that
| | 05:40 | fuzziness kind of looks like a shadow.
| | 05:42 | It doesn't work on the panels, though,
so I am going to delete the Glow.
| | 05:45 | Just highlight the name and hit Delete.
| | 05:48 | So now we have tracked solar panels that are color
corrected to look like they belong in the scene.
| | 05:54 | We are now ready to import additional
renders and artwork to fill out the set.
| | Collapse this transcript |
| Adding artwork and renders| 00:00 | There is no limit to the number of trackers
you can add to a layer, at the same time there's
| | 00:04 | no limit to the number of layers
you can apply the tracking data to.
| | 00:07 | We're going to try that in this video.
| | 00:10 | First thing I'll do is put another solar panel
right here, and that will require additional tracker.
| | 00:15 | I'm going to use the same render as before.
| | 00:17 | I'm going to go to the SolarPanels and drag
that back down and make that a new layer on top.
| | 00:24 | There's another iteration of the panels.
| | 00:25 | Now I only want one little section of this panel,
so I'm going to cut it out with the mask again.
| | 00:30 | I'll go up to the Pen tool, and draw a mask.
| | 00:33 | This time I want to draw one just to cut
out the leftmost panel, so I'm trying to make
| | 00:39 | it nice and neat on this right edge.
| | 00:42 | You can adjust these points
afterwards just by click-dragging them.
| | 00:47 | So there's a new panel cutout by itself.
I'm going to track it to this stand over here.
| | 00:51 | So, I want to move it over first to get
into a good start position on frame 0.
| | 00:56 | I'll do that by moving the anchor
points, I can just do it right here.
| | 01:01 | I'll just slide it right over.
So, it looks like a good place to start.
| | 01:06 | Now I'm ready to add a new tracker.
| | 01:08 | I'll pick Stabilize once again,
go to Animation > Track Motion.
| | 01:12 | This will be Tracker 3.
| | 01:15 | Once again, we'll Transform track,
so Tracker 3 has its own track point.
| | 01:20 | I want the left stand over here.
| | 01:22 | I'll move that into the correct location,
and I'll move the track point into position.
| | 01:27 | I like this little L shape down
here at the bottom, nice contrast.
| | 01:30 | See, I'll put it into the elbow right there.
| | 01:33 | Now remember, before we apply the tracker,
it will probably be good to move the anchor
| | 01:38 | points of the new layer.
| | 01:39 | So let me go back to the Composition, back
to the SolarPanels, the top layer, and I'll
| | 01:44 | be sure to move the anchor
points to the same position.
| | 01:48 | Now I'll probably need to reduce the Opacity
so I can see through that, and there it goes
| | 01:54 | into the correct location.
| | 01:56 | Return the Opacity to a high number,
now I can return to the tracker.
| | 02:01 | Now if you don't see the tracker, one trick
is to go to Motion Source over here, and change
| | 02:06 | it to a layer that has a tracker, in this
case Stabilize, make sure the Current Tracker
| | 02:10 | is listed and then you can analyze.
And there's the motion path.
| | 02:17 | Go back to the Tracker and make sure of the
correct Target, Edit Target, select to the
| | 02:23 | top SolarPanels layer, and then Apply, X and Y.
| | 02:31 | Quickly scrub in the Composition View
just to make sure it's tracking, which it is.
| | 02:35 | Now this panel is much brighter and more
saturated, so what I can do is steal the effects from
| | 02:41 | the previous SolarPanels layer, so I'll pick
that layer, go to Effects, Shift-select the
| | 02:47 | Effects, Copy those, and then
Paste them onto the top layer.
| | 02:52 | Now, since this layer is in the sun, I think
I might as well go and brighten it up a bit,
| | 02:58 | looks a little bit too dark.
| | 02:59 | I can do that just by adjusting the Curve
just give it a little bit more contrast.
| | 03:04 | So it looks like they're
more in the same space now.
| | 03:06 | Now certainly I get quite a few layers here, so I'm
going to rename a few of these just to keep organized.
| | 03:12 | You can rename any layer
by right mouse clicking.
| | 03:15 | I'm going to Rename, so Top one I will call
PanelLeft, next one PanelRight, the Top Tubes
| | 03:25 | I'll call TubeHighlight, and
then Tubes on the lowest one.
| | 03:31 | We need to keep organized, this will be
important, when we have more and more layers as we go.
| | 03:36 | I also mentioned you can apply Tracking Data
to multiple layers, so we can reuse some old
| | 03:41 | tracking data to some brand new image sequence.
| | 03:44 | So let's do that, I'm going to bring
in a new render of a bunch of banners.
| | 03:47 | So File > Import > File.
| | 03:48 | I'm going to the Renders Folder
once again, but then go into Banners.
| | 03:54 | I'll select the first
Banners file, and Open that.
| | 03:58 | I'll drop that on top, and that's a
bunch of banners that hang overhead.
| | 04:03 | Now to reuse some of the tracking data, I'll
figure out what to tracker first, and I think
| | 04:06 | because the Banners are roughly in the same
level as the panels, so I can use the Right
| | 04:11 | Hand Tracking Data from this stand over here.
| | 04:14 | Now first thing I might want to do, though,
is put the banners in the right place here,
| | 04:18 | in front of this panel, so they should probably be
below, there we go, now they're on the correct place.
| | 04:23 | In any case if I'm going to use the
Tracking Data from this Right Stand, I need to make
| | 04:27 | sure the banner's anchor
point is in the correct place.
| | 04:30 | So I'm want to hide the panels temporarily,
select the Banner layer and then move its
| | 04:37 | Anchor Points back to this mark that we used
previously, which is this V shape right here.
| | 04:44 | Then go back down to the Tracker, retrieve
it, so again, Motion Source, Stabilize, I
| | 04:50 | need to switch it back to Tracker 2, which
matches that Track Point, then Edit the Target,
| | 04:57 | pick a new target, which will now be
Banners, click OK, and then Apply, X and Y.
| | 05:04 | A quick scrub shows the banners are moving.
| | 05:08 | Now there is one problem with this, the banners
would render with the same camera in Maya as the Tubes.
| | 05:13 | If you remember, the Tubes had a bit of a
slide, we had to animate the anchor point,
| | 05:18 | so we can look at that anchor point
animation on the Tubes, and see what's going on.
| | 05:23 | In particular let's pay attentions to the
Y, so on the first frame the Anchor Point
| | 05:27 | for that is 291 in the Y.
| | 05:30 | The Last Frame, the Anchor Point in the Y
is 297, so it's a difference of six pixels.
| | 05:35 | What we'll do is go ahead and animate
the anchor point of the Banners also.
| | 05:39 | I'll go back to the first frame and go
ahead and click the Time icon beside the anchor
| | 05:45 | points to start the animation process on that.
| | 05:48 | Now before we get too far, we are going to
decide if we like where the banners are, either
| | 05:52 | too high or too low. I think, in fact,
| | 05:54 | I might raise them up a bit, so I
we'll try 938, 385, so raise them up.
| | 06:03 | Now also, move them a little bit in the X
direction too, this makes them look that they
| | 06:07 | are more centered, as
opposed to the default location.
| | 06:10 | So if you imagine you draw a straight line
from this banner edges down, these kind of
| | 06:15 | meet the corners of this raiser.
| | 06:18 | Now you can choose a different location, I
just feel this looks better if they're a little
| | 06:22 | bit left or right, it
definitely gives you a different look.
| | 06:24 | So, in this situation, 938, 385 looks good.
| | 06:29 | So that's the First Frame,
let's go to Last Frame now.
| | 06:34 | Keep in mind that Y Offset we talked about
is 6 pixels, so let's take care of that first.
| | 06:38 | So, if the first frame it's at 385 in Y, let's
make the last frame 391, that's 6 pixels different,
| | 06:46 | which is the same as the Tubes.
| | 06:48 | Now, because we changed the X
also, we have to think about that.
| | 06:52 | Now, one thing occasionally you have to do,
which we'll do in this situation is just eyeball it.
| | 06:58 | Let's say the banner starts here on the
first frame, again, draw an imaginary line that
| | 07:03 | goes down from the edge of the
banner, down to the back corner.
| | 07:06 | If we go to the last frame, you could see
that it doesn't quite line up like it used
| | 07:10 | to at that back corner.
| | 07:12 | So therefore, you can adjust in the X,
this will take some experimentation.
| | 07:18 | In this situation, though, I put in 967 here
for the X so that the first and last frames
| | 07:23 | have a better match.
| | 07:24 | So, here's the first frame, draw a line down
from the edge of the banner, roughly around
| | 07:29 | here, go to last frame, draw a
line down roughly the same position.
| | 07:35 | So we didn't ruin our tracking data, we
simply offset it, for several reasons.
| | 07:38 | One, we adjusted the height of the banners,
two, we fended a little bit of that Y slide
| | 07:43 | that we saw with the tubes, where it was
kind of dipping downwards, and then three, made
| | 07:48 | a choice to move the banners that
are more centered over the podium.
| | 07:51 | That required a little
eyeballing to line it up to the corners.
| | 07:55 | We see how we can apply tracking data to
multiple layers and also how we can add as many trackers
| | 08:00 | as we need to, to any particular layer.
| | 08:02 | You don't always get a perfect tracking result
when you apply tracking data, so occasionally
| | 08:05 | you'll have to do a little manual animation.
| | 08:10 |
| | Collapse this transcript |
| Utilizing corner pin tracking| 00:00 | We're going to continue to reuse some of our
Tracking Data and apply it to new layers.
| | 00:04 | We're also going to move on to a brand-new
style of tracking called Corner Pin Tracking.
| | 00:08 | Corner Pin Tracking is ideal for tracking the
corners of anything that's rectangular or square.
| | 00:13 | To apply that we're going to create a
floating projection screen above this man's head as
| | 00:18 | if it's a futuristic projection system.
| | 00:21 | So I'll start by importing a brand-new render,
File, Import, File, go to the Renders Folder,
| | 00:28 | to the Screen Folder, and open the first frame.
I'll drop the screen on top, and there it is.
| | 00:35 | Where there is a green rectangle that is rendered
in Maya, it represents where the screen should go.
| | 00:40 | Now because the Maya camera was approximated, we have
that same issue once again with a little bit of drift.
| | 00:47 | So let's apply a tracker first, and
we'll deal with that drift in a second.
| | 00:50 | Some terms, which we are going to reuse, we'll
use the right one once again over here on the stand.
| | 00:54 | So I'm going to hide the panels for now,
and then move the Anchor Point of the screen.
| | 00:59 | So I'll probably need to hide the Tubes
also because they cover up the Screens.
| | 01:05 | Back to Frame 1, move the Anchor Point
right to that V shape, I'll put it into the Elbow
| | 01:10 | right there, so it looks
like a good place to start.
| | 01:15 | Go back to the Tracker two, change Motion
Source to Stabilize, make sure your Tracker
| | 01:20 | Two is visible, add a target, first set the Screen,
Click OK, and then Apply, X and Y, and there's our screen.
| | 01:29 | If I scrub really quickly, I
can see that there's some drift.
| | 01:33 | Once again, there is a little bit of downward Y
drift, and there is also some slide to the right.
| | 01:40 | Now as a way to animate the Anchor Point of
the screen by doing such a way that you can
| | 01:44 | line things up inside the view. The screen
should be right above the edge of this riser.
| | 01:51 | So its edge should line up with
the some wrinkle here on this riser.
| | 01:55 | So, in order to make that consistent, what I
can do is create a ruler, something to line
| | 01:59 | up the edge of the screen
with the feature down here.
| | 02:03 | To do that, I'm going to create a new Solid,
instead making it Comp Size, which it normally
| | 02:08 | is, I am going to make it a skinny vertical
ruler so 50 by 720, I'm going to make it a
| | 02:14 | bright color like red and Click
OK, and there is my new ruler.
| | 02:19 | So, on the first frame, I am going to see
where the screen lines up in terms of that riser.
| | 02:24 | I'm going to move this ruler over, and line it up,
so the edges touch and see where it comes down here.
| | 02:32 | So the edge of the ruler hits this
little wrinkle that splays out right here.
| | 02:37 | So that's our reference.
| | 02:37 | So I'm going to go ahead and key the Anchor
Point for the screen and also key the position
| | 02:44 | for the ruler, and I'm going to the last
frame and then reposition the ruler so it lines
| | 02:50 | up with that same feature
again, about right here.
| | 02:52 | Now, if I look at that screen, you can see
its falling behind. In fact, I'll move the
| | 02:57 | ruler below the screen. I can see
the screen edge is way far behind.
| | 03:02 | So then I can move the screen over in terms of
Anchor Points to get it in the correct position.
| | 03:07 | I'll just move it over and actually
right here like this, and that lines up.
| | 03:13 | So now, both the ruler and this whole
straight edge and the edge of the screen lines up with
| | 03:17 | this feature of the riser on the
last frame and on the first frame.
| | 03:23 | Once you're done with this solid layer which
is serving just as a straight edge in a ruler--
| | 03:27 | you can just hide that--
| | 03:29 | you might continue to refine it, I have some numbers
here that worked pretty well for the Anchor Points.
| | 03:33 | On the first frame, I put in 935 for X, and
we're just going to round off this to 330.
| | 03:41 | On the last frame, 974 looks good, and it's
pretty close right now, and then the Y, remember
| | 03:47 | we had that Y offset of 6 pixels?
You want to do the same here.
| | 03:50 | So here I want it to be 336, back to frame 1,
and if I play that back, we can see the
| | 03:59 | screen stays lined up with the front of
the riser and doesn't look like it's sliding.
| | 04:03 | Now, we're ready to Corner Pin Track,
we're going to use this green square for
| | 04:07 | Corner Pin Tracking, eventually
put some video in there.
| | 04:09 | In order to do that, I'm going to nest it.
I'll make it easier to track.
| | 04:14 | I'm going to turn off all the other layers,
so it's by itself, take a New Composition.
| | 04:19 | I'm going to call this Screen Track, the nest,
the SetDress Composition inside this one which
| | 04:28 | will give me the screen by itself.
| | 04:30 | Now with this new layer, I could go to Animation,
Track Motion, make a brand-new tracker for this layer.
| | 04:37 | Instead of Transform Track, I
want to Perspective Corner Pin Track.
| | 04:42 | Perspective Corner Pin gives me four track
points which I can use to line up with my
| | 04:46 | four corners, so I am going to place these
up here at the four corners, we're at the
| | 04:52 | zoom in, go to my first screen a little bit
closer, and zoom in, and start to position them.
| | 04:59 | Now this is why I can't get up to the
corner because it is so close to the edge and the
| | 05:03 | box, at least the inner box
feature region can't go any further.
| | 05:07 | So I have to change the size in this case
just by dragging the corners of these boxes.
| | 05:12 | Now just for an experience, fairly small
box for this corner works the best.
| | 05:17 | If it's too large, the tracker will
get confused with this corner.
| | 05:20 | So that's nice and small, so now the four
boxes, four track points placed, I can go
| | 05:27 | ahead and analyze and a quick scrub shows me
it looks like it's tracking pretty well.
| | 05:33 | We can now apply this but I need some footage
to apply it to, so I'm going to go back File,
| | 05:38 | Import File, go to my Footage Folder, and
there is Footage called CUSpeaker, import
| | 05:47 | that, drop it on top. This is
just a close-up of the man speaking.
| | 05:52 | So I go back down to my SetDress layer here,
go back to my Tracker, Tracker one, add the
| | 05:58 | target, which is the speaker, and then Apply.
| | 06:02 | That piece of footage is distorted so the four corners
line up with the four corners of that green square.
| | 06:07 | Well, now, I want to get this back into my
previous composition so what I can do is copy this layer.
| | 06:14 | With this layer selected, I can do Edit > Copy,
return to my SetDress layer and do Edit > Paste,
| | 06:21 | then paste that layer in.
| | 06:23 | Now the screen is still on this composition, I
don't need it, it's just there for reference,
| | 06:26 | so I can turn that off, leave my ruler off, I
really don't need that, and then turn on everything else.
| | 06:34 | Now just quickly scrub through it, you can
see that it is very easy to get motion tracking
| | 06:40 | on this piece of video at the man
speaking to create this floating projection.
| | Collapse this transcript |
| Looking closer at corner pin tracking| 00:00 | We're going to continue to use Corner Pin
Tracking to add another layer to this scene.
| | 00:04 | And in fact, there's a perfect place for that.
If you look closely at the podium, there are
| | 00:08 | four tape marks here that form a nice
rectangle, great place for this type of tracker.
| | 00:12 | Let me show you what we're
going to apply Tracking Data to.
| | 00:15 | I'm going to go to File > Import file, and grab
the Podium Logo which is in the Artwork Folder.
| | 00:21 | Now even though this logo is very big, as
you can see, as I drag it down, that's going
| | 00:27 | to be bent until it fits in front
of the podium through the tracking.
| | 00:30 | I'm going to turn it off for now and go back
to stabilize and add a new tracker, track motion.
| | 00:37 | I want this tracker to be Perspective Corner
Pin once again, so I get my four Track Points,
| | 00:43 | I'll move those to the
four corners of the podium.
| | 00:46 | With my first getting a little bit closer,
and start to position them, right looks pretty
| | 00:53 | good, now we can analyze, and there's the
motion path, so I'll quickly scrub through
| | 00:59 | it, looks like they're sticking, that's good,
now we can apply this, add a target, make
| | 01:04 | sure the Podium Logo is selected and Apply.
| | 01:09 | I'll turn the logo back on so we can see it,
there it is. A quick play will show that it
| | 01:16 | is sticking, so that's good.
| | 01:18 | Now we brought a lot of new layers in recently, the
banners, this projection overhead, and this podium logo.
| | 01:25 | What we haven't done is a little house
keeping in terms of making sure that they match the
| | 01:29 | original video footage, that includes color
and blurriness or sharpness, so let's go through
| | 01:34 | that and improve all these other layers.
| | 01:36 | I'm going to start with the banners, select
the banner, now one thing with the banners
| | 01:40 | is the edges are very sharp because it
came out of a 3D renderer. Let's soften those.
| | 01:45 | A good trick for that is to go to Effect,
Blur and Sharpen, Channel Blur, which gives
| | 01:51 | you the option of blurring just the Alpha,
so let's say a 3 in the Alpha, softens
| | 01:56 | the edge, and that will be
nicer for the final version.
| | 01:59 | You can also go ahead and
adjust the brightness and contrasts.
| | 02:01 | I'll apply another Curves Effect, Curves,
and then maybe darken the banners a bit, give
| | 02:07 | them more contrast, that looks good.
| | 02:09 | So that's good for the banners, let's
move back to the podium art on the front.
| | 02:14 | It's a very sharp logo, so let's add a blur
that to match the rest of the video footage,
| | 02:20 | So we'll try Fast Blur, not too much,
maybe .5 for this, that looks good.
| | 02:27 | Another problem with the logo here is the
whites are pure white 255, 255, 255, whereas
| | 02:34 | other whites like his
shirt are not quite like that.
| | 02:37 | You can tell that by placing your mouse over
a certain part of the screen and seeing what
| | 02:40 | the readout is over here in the info panel.
| | 02:43 | It would be great to get the logo darker
and also balance out the colors better.
| | 02:47 | So I'll add a curves effect,
Effect > Color Correction > Curves.
| | 02:53 | Now Curves has an RGB option in the
menu, which we'll go ahead and darken.
| | 02:57 | It also has separate channels so I can adjust
the Red or the Green separately or the Blue.
| | 03:03 | Now if adjust the red and the green, darken
those a bit, I can get my balance to be more
| | 03:09 | closely matched to the Shirt.
| | 03:12 | Also take some experimentation, so we might go
back and forward a few times on these curves.
| | 03:17 | That looks pretty good for now.
| | 03:19 | I think we had a logo on the
front of the podium looking good.
| | 03:22 | So we can move on to the projection.
| | 03:24 | Now Projection needs the most work, it's very
hard edged, it's very clear, it's very opaque,
| | 03:30 | it doesn't look like it's a mid-air projection.
Let's work with that. I'll select the layer.
| | 03:35 | And the first thing I'm going to do is knock
off the edges with another channel blur, so
| | 03:39 | Effect > Blur > and Channel Blur.
| | 03:42 | I'm going to crank this up pretty high, 22
for the Alpha, it's really going to blur,
| | 03:47 | so much so that it has this weird double edge.
| | 03:50 | I like the softness but not the double edge,
so to get rid of that, I can once again go
| | 03:55 | to my Curves tool, Color Correction > Curves,
but instead of messing around with RGB, I'm going
| | 04:01 | to affect the Alpha curve.
| | 04:03 | And I if I give it a really
contrasty Alpha Curve, it erodes the edge.
| | 04:09 | So a L shape curve makes it nice and neat.
| | 04:13 | I'll turn it off, this is without, not
so nice, and this is with, much nicer.
| | 04:18 | So let's have some fun now, let's make
this some kind of futuristic projection.
| | 04:23 | Let's turn him green. You can do that with
a hue saturation effect, Color Correction >
| | 04:28 | Hue Saturation, Colorize
him and turn him green.
| | 04:31 | So, for example, 106 in the Hue will make
him green, you can also adjust the saturation
| | 04:37 | maybe increase saturation, and
that's definitely more stylized.
| | 04:41 | Now it's still very opaque, so one trick for
making this semi-transparent is to change
| | 04:46 | the blending mode in this situation to screen,
and what screen does, it just takes the bright
| | 04:51 | parts between that layer and what's below it so it becomes semi-
transparent, but you can still definitely see what's going on.
| | 04:57 | You can also adjust the opacity, for example,
I can reduce the opacity on this layer to
| | 05:02 | make it even more transparent.
| | 05:04 | Now, if it's a little too transparent, even
go back to original RGB curves and adjust that.
| | 05:12 | Now to make it even more stylized, we can
add a glow, so Effect > Stylize > Glow, I'll
| | 05:18 | have to adjust that, let's try 45% for the
threshold and 60 for the radius to soften
| | 05:26 | it and 2 for the intensity, so
that's a bright blur in there.
| | 05:30 | Now one thing that was lost is all the color,
but we can duplicate this layer and bring
| | 05:34 | back some of the color and combine the two,
so I'm going to just Edit > Duplicate this layer.
| | 05:39 | On the lower version of what I get, I'm going to
turn off the Hue Saturation and turn off the Glow.
| | 05:49 | And then I can adjust the opacity to kind
off mix them together, so I'm mixing some
| | 05:53 | of the original color back in.
| | 05:54 | So you can see if I reduce the
upper one, the color comes back in.
| | 05:59 | So, I want to find some medium ground here.
Let's say that looks pretty good for now.
| | 06:05 | Many of the effects we used shows you the flexibility
of the combinations of effects within the program.
| | Collapse this transcript |
| Creating light effects| 00:00 | We used some various effects to create the sense that
there is a floating projection above this man's head.
| | 00:05 | Now it would be great to make it look like
it's being projected from someplace with a
| | 00:09 | beam, so it looks like it's passing
through a say, a smoky atmosphere.
| | 00:12 | We can do that with some
effects in the Track Matte tool.
| | 00:15 | Before I get to that, though, I want to
briefly mention that I did renamed these layers here
| | 00:19 | for organizational purposes, and I also
renamed the motion trackers which you can do just
| | 00:24 | by right-mouse clicking and then picking rename.
| | 00:27 | So back to the projector, so I don't have
a actual beam render, so what I will do is
| | 00:31 | create a new solid and then Rotoscope that.
| | 00:35 | So this new solid, I'm going to call Projector,
I want to make sure it's the same green, you
| | 00:40 | can use the eyedropper to
select and make it the Comp Size.
| | 00:45 | We'll pull that below Banners, now it's
really thick and opaque, so I'm going to reduce the
| | 00:51 | opacity to 50%, and then in order to make it have a
actual beam shape, I'm going to rotoscope with the Pen tool.
| | 00:59 | I'm going to draw a box shape around the front and
then make an end to the beam shape and then close it.
| | 01:07 | Now it would be nice to line this up or
something in the background that could be a projector,
| | 01:12 | and there are a bunch of little holes here in the
concrete, so I can line up that point to one of those holes.
| | 01:19 | The screen does change over time, so I do
need to keyframe this, so in order to keyframe
| | 01:23 | a mask to have a changed shape, I'm going
to click on Time Icon beside Mask Path, you
| | 01:29 | get the first keyframe there, and you can go
to the very end, update the shape by clicking
| | 01:35 | on the points and dragging them, that looks
better there, and there it is second keyframe.
| | 01:42 | Now, it's all very hard edged mask, so what
I can do is increase the feather to 20, and
| | 01:48 | whenever you feather, it feathers it
inwards and outwards so I need to also expand the
| | 01:53 | Mask by 5 pixels, and there we go.
| | 01:56 | Now we got a great beam shape, but this is
going to be solid and not change over time,
| | 02:01 | whereas a real projector will probably flicker.
| | 02:03 | So to create the flicker, I'm going to use,
a Fractal Noise in the Track Matte trick.
| | 02:08 | So to create a Fractal Noise, I need a brand-new
layer, and this fractal noise will take
| | 02:12 | over this layer, I'm going to call this new
solid Noise, and I'm worried about the color here.
| | 02:19 | So there's new Noise solid, I'm going to
pull that right above Projector, and then we're
| | 02:25 | going to apply Noise & Grain > Fractal Noise.
| | 02:30 | That creates a noisy black and
white pattern that's semi-random.
| | 02:34 | I can use that to cut
holes into the projector beam.
| | 02:37 | If I go down to the Track Matte column beside
Projector here, and change that to Luma Matte,
| | 02:42 | what that does it cuts those
kind of holes in that solid.
| | 02:47 | It's those RGB values from the Noise layer
and applies that to the Alpha in the Projector.
| | 02:52 | Now if you don't see a Track Matte
column, just hit the Toggle Switches button.
| | 02:56 | We can even improve it further by applying
the same kind of noise to the video of the
| | 03:01 | man speaking, so I'm going to copy this noise
up, Edit > Duplicate, I'm going to place that
| | 03:06 | above the green level of the man speaking, I'll turn
off the color one for now, there's the green level.
| | 03:14 | On the green level, I'm going to switch its Track
Matte to also Luma Matte, and now there's holes in that.
| | 03:20 | I don't have to live with those settings for
that new Noise and go to that new Noise and
| | 03:26 | change some of these values, for example,
higher Contrast 160, I can change the Brightness
| | 03:32 | 36 and then Scale underneath
Transform to make the pattern larger, 280.
| | 03:40 | That looks better there.
| | 03:43 | Now that pattern is not changing, so here what I
can do is animate the evolution changing over time.
| | 03:49 | Evolution figures out which slice of noise
it takes from a three-dimensional pattern,
| | 03:53 | so I can key the evolution on the frame zero
at zero and go to last frame and give it three
| | 03:59 | revolutions, and that will
change the pattern over time.
| | 04:02 | Now it would be great to get
that same effect with the beam.
| | 04:05 | So I'm going to go back to the noise being used for
the beam, down here and alter these settings too.
| | 04:10 | For instance, I may want the beam to
be lower contrast, 25, not going to
| | 04:15 | worry about the brightness here, but I
also want it to change over time, so I'm going
| | 04:19 | to key the Evolution on the first frame, go
to last frame and then you give it more flicker
| | 04:24 | by creating more
revolutions by giving it 6 here.
| | 04:27 | So now if I play this back, I'm going to
get a subtle variation in noise pattern making
| | 04:34 | a flicker over time.
| | 04:36 | Now the color version of the man speaking
is turned off, I'll turned that back on.
| | 04:40 | Now one last thing to be cool in terms of
the projection field would be to maybe make
| | 04:45 | some distortion in it. I can distort the
green level over the top of the colored one, so
| | 04:49 | it looks like just some bad reception,
like they don't quite match up.
| | 04:53 | So with the ProjectorGreen layer selected, I'm going to
go up to Effect and try New Effect > Distorts > Turbulent Displace.
| | 05:01 | You'll see it distorts
that green layer right away.
| | 05:05 | Now I can also alter this. I can make it
less strong by lowering the Amount to 4.
| | 05:10 | I can change the Size of the noise that
drives the distortion to 150, make a bigger noise
| | 05:14 | pattern, you can also animate it over time
shifting, it's very much like the fractal noise.
| | 05:20 | So I'll key it at zero for frame one, go to the
last frame, and maybe give this three revolutions.
| | 05:28 | So, it's going to distort it, and it's going
to make the green layer not quite match the
| | 05:33 | color layer and look like some bad reception.
| | 05:36 | If you watch his shoulder, you'll see that
distortion shifting over time, so it looks pretty good.
| | 05:43 | Now one last thing we could do to this whole
set up here is maybe give the sense that the
| | 05:47 | beam at the origin is a little bit brighter.
| | 05:49 | So there is a effect I can use for that, Light Rays.
In order to apply it, though, I need to nest this composition.
| | 05:54 | So I want to make a new composition, I'll
call this AddCrowd, because eventually, we
| | 05:59 | will add the crowd to this one, I'm going
to go back and nest SetDress into this one
| | 06:06 | and then apply the Generate > CC Light Rays
effect, so it will create a little light burst
| | 06:13 | where the center is, and there is
an interactive Center tool here.
| | 06:15 | So I can place it at that circle on the wall.
You'll see it creates a little light burst.
| | 06:21 | I need to animate that center to put it where
I want it over time, so here's the first frame,
| | 06:26 | and maybe here's the last frame, and then
I can adjust the radius which is the width
| | 06:33 | of the burst, I'll make it smaller, 17, and
then I can alter the intensity, brighter or darker.
| | 06:39 | In fact, I'm going to key the intensity over
time, so here's intensity, I'll turn on the
| | 06:45 | keyframe there just make it go up and down
kind of randomly, I'm not really concerned
| | 06:53 | about the exact values,
just want some randomness.
| | 06:58 | To get enough keyframes, I can go and copy
these just select them Edit > Copy, and then
| | 07:06 | paste, Edit > Paste, and I can grab random
chunks of keyframes and do the same thing,
| | 07:11 | so I'll have the entire timeline filed up with keyframes.
| | 07:16 | Okay, so there's some random intensity change.
Let's play back a little bit of this, so now
| | 07:24 | we have the sense that there is a lens in
the wall because of the CC Light Rays Effect,
| | 07:28 | also we're getting distortion and opacity flicker
through Track Matte, a Fractal Noise and also Turbulent Displace.
| | 07:34 | This pretty much wraps up everything we
need to do for the Set Dressing, and now we're
| | 07:39 | ready to start adding the actual crowd.
| | Collapse this transcript |
|
|
3. Working with GreenscreenKeying with Keylight| 00:00 | We have imported a number of image sequences in our
work to help Set Dress this otherwise empty warehouse.
| | 00:05 | We applied various effects and also motion
tracking to make sure the integration was working for us.
| | 00:10 | We're now ready to move on to our original goal
which was to fill this warehouse with a big crowd.
| | 00:16 | So we are going to start with out first piece of
green screen footage to help populate this scene.
| | 00:20 | I'm going up to File > Import file and grab
the first green screen piece of footage.
| | 00:28 | This is under the Footage Folder, under Crowd 1A.
I'll pick the first frame and bring that in.
| | 00:34 | Take a look at this, I'll put it on top of
the layer, and what we have here is a small
| | 00:39 | group of actors staying in front of a green screen,
but there is no dolly on this, it's just static.
| | 00:45 | So our first task will be to remove the
green screen itself and the second task will be
| | 00:49 | to eventually motion track it, so it looks
like these people are in the correct place.
| | 00:53 | Now, the green is in limited area.
| | 00:56 | So our first job will be to
mask this to whittle it down.
| | 00:59 | So I'm going to grab the Pen tool and draw
a mask around this green area, just very loosely.
| | 01:04 | This is called a garbage mask.
It gets rid of all the extra garbage.
| | 01:08 | You can see now that the
people fit into the scene.
| | 01:12 | So how do you remove green screen?
| | 01:14 | Well, a number of Green Screen Keying tool
inside After Effects, probably the best one
| | 01:19 | is Key Light, so let's give that
a try, Effect > Keying > Key Light.
| | 01:25 | There are some basic steps you join and
take with Key Light, and I'll show you those.
| | 01:29 | The first is to pick the
screen color with this Eye Dropper.
| | 01:32 | Let's pick, say close to this man's shoulder,
right away, you'll see the green is mostly removed.
| | 01:38 | That might be deceptive because we're not quite done yet.
Looks okay, but we need to test it and refine it.
| | 01:44 | One way to see how it's really working in
this is to put another solid color behind
| | 01:48 | it to see what the edges look like.
| | 01:50 | So, I'm going to create a new
solid here, Layer > New > Solid.
| | 01:53 | I'm going to make it a bright color like red just make
it the Comp Size, we'll rename this, Test Background.
| | 02:01 | Oh man, I may rename the crowd too.
Let's call the Crowd 1A.
| | 02:08 | When we drop the test background behind
the crowd, and now we can see what's going on
| | 02:15 | with the green screen, so it's a bit messy
here, there's some residual green noise here.
| | 02:20 | We're not stuck with this, we can go ahead
and alter Key Light to try to improve this.
| | 02:24 | Now one trick is to change the view in Key Light
from final result to Status which is a test mode.
| | 02:30 | That is an exaggerated view of the Alpha Matte, in
other words, it shows you what the Alpha channel is doing.
| | 02:36 | I do really want the people to be solid white, which is
opaque, and the background to be solid black, which is transparent.
| | 02:43 | First place to go would be Screen Matte, I'll expand
that section, and expand Clip White and Clip Black.
| | 02:49 | I'm going to start with Clip Black, if you
change this slider, any values in that footage
| | 02:56 | in terms of the Alpha below this
value are clipped to zero black.
| | 03:00 | So as I raise this slider up,
there's more and more black there.
| | 03:04 | So, let's say I raise this to 20, now once you've adjusted
to Clip Black, you can actually go back to Screen Gain.
| | 03:11 | The Screen Gain determines the
aggressiveness with which that green color is removed.
| | 03:16 | If you can avoid change in Screen Gain,
it's great but in this case, I think we'll have
| | 03:20 | to use both Screen Gain and Clip Black.
| | 03:22 | Let's say I set Screen Gain to 110, that
removes a bunch more of that black noise.
| | 03:29 | So a Screen Gain of 110 and a Clip Black of 20.
| | 03:32 | Now, Clip White attacks the White. If I reduce Clip
White, there's more and more white inside the people.
| | 03:39 | So let's say I set Clip White
to 80, it looks a lot cleaner.
| | 03:43 | Now, this is exaggerated view.
| | 03:45 | If we want to see the true Alpha Matte, I
can change the view to combine the Matte,
| | 03:49 | this is the final Alpha, that looks pretty nice.
| | 03:52 | At this point, it would be good to look at
the final results, I'm going to change View
| | 03:55 | to Final Result so that looks pretty good.
| | 03:58 | I'm not worried about the feet or the
shadows on the ground because eventually we'll have
| | 04:03 | so many people on this scene, you'll never
see their feet, so I'm not concerned about that.
| | 04:07 | I'm mostly concerned about their upper body.
| | 04:08 | I'm going to zoom in, take a look at the edges,
edges are usually a problem, they're not bad,
| | 04:14 | and they've a dark edge
here, some dark edges here.
| | 04:19 | There's a way to adjust that very quickly
just on the edge, if you go down to the very
| | 04:24 | bottom of the Screen Matte
section, there's a Replace Method.
| | 04:29 | What happens is when the green is removed, it
replaces that green with some color determined
| | 04:33 | by the Replace Color. We are going to set
the Soft Color tries to do it smoothly, we
| | 04:38 | also have some other menu options, we have None,
which is don't worry about the replacement,
| | 04:42 | there is Source where it uses these source
colors, there's Hard Color, which is similar
| | 04:47 | to Soft Color, but it's a harder transition.
| | 04:50 | Now of all of these, I think that
Source looks a little bit better.
| | 04:54 | Now one danger with Source is you might
have some green that returns, some green spill.
| | 04:57 | There's not a whole lot with this piece
of footage, I'm not too worried about that.
| | 05:02 | So, try different Replace Methods.
| | 05:04 | Now everything you could do with the Edges
is go down to Edge Color Correction, in this
| | 05:09 | section we'll affect the edges only, if you turn this
on, Enable Edge Correction, you'll get all these options.
| | 05:17 | For example, you can raise the Brightness
up to 10 to brighten that edge, and I can
| | 05:20 | go a little further, as you can see, I think 10 looks
pretty good for this, and that just affects the edge quality.
| | 05:28 | Now you do want to check different frames,
make sure it's working for you, for example,
| | 05:32 | when they're clapping, so you might have to
go back to Key Light to continue to adjust
| | 05:36 | it, I think we're good for now.
| | 05:38 | At this point, it would be good to compare
it to the real background, so I'm going to
| | 05:41 | turn off the test background and see what
it looks like, that's looking pretty good.
| | 05:45 | So now, we removed the green screen with
keylights and the simple garbage mask.
| | 05:51 | Next task, will be to add motion tracking
to make sure they follow the scene and then
| | 05:56 | eventually bring in
additional pieces of crowd footage.
| | Collapse this transcript |
| Motion tracking greenscreen| 00:00 | We have imported our first crowd footage, and
we've used keylight to remove the green screen.
| | 00:04 | At this part, we are ready to apply some motion to
these people as they're getting to move with the camera.
| | 00:09 | Now before I do that, though, I'm going to double check
the edges just to really make sure they're looking good.
| | 00:14 | I'm going to zoom way in and take a look, and as
it turns out, there's a bit of green line here.
| | 00:19 | So fortunately, I can go back to my green
screen tool which is Keylight and take a
| | 00:23 | look at the options, and in fact, there's a
great set of tools you can use to get rid
| | 00:27 | of this tiny edge of green.
| | 00:29 | One is a screen Shrink/Grow
and one is a Screen Softness.
| | 00:34 | If I adjust the Screen Shrink/Grow to -0.2,
it erodes out the edge a little bit, and you
| | 00:41 | can also soften the edge,
blur it out little bit.
| | 00:43 | Let's say I put that to 0.6,
I get a little bit of a blur.
| | 00:49 | So that's looking better now.
It's gotten rid of the heavy green edge.
| | 00:53 | Now, we can address the motion tracking.
| | 00:55 | We are going to use Transform Tracking
tool once again with some slight variations.
| | 00:59 | I'm going to go to SetDress, go
back to Animation and Track Motion.
| | 01:04 | Now, normally you get a single-track point;
however, with this piece of footage and the
| | 01:10 | crowd, it might be good
to have two track points.
| | 01:13 | I'm going to use tracking marks on the floor,
and I really like to use two sets, a set here
| | 01:18 | and a set over here, which
means I need two track points.
| | 01:21 | In order to get two track points, all I
have to do is turn on the Rotation down here.
| | 01:26 | And when I do that, I get two track points
tucked here with a rubber band, and when I
| | 01:31 | apply, it will also animate the
rotation for me, which is okay.
| | 01:34 | I want to capture that information.
Let's see, let's place track points.
| | 01:38 | I'm going to place them on the second row.
| | 01:41 | If I go from the right here,
the second row is right here.
| | 01:46 | I know many times, we've left the track
point boxes the default size, I am going to scale
| | 01:51 | them up to encompass both Xs, just to try
to give my tracker a more successful run.
| | 01:58 | It's a very distinct pattern.
| | 02:01 | The reason I put the two Xs down on the
ground in the first place was we want the black X
| | 02:04 | and the blue X, and we'll be able
to use whatever had the most contrast.
| | 02:08 | In this case, we'll use entire pattern there.
| | 02:11 | So, I'm going to need to make sure
we are on the second row here.
| | 02:15 | It actually force that back here, but
it lines up with the second row here.
| | 02:19 | Okay, so we're good there.
Now I'm on the last frame.
| | 02:23 | That's okay. I can analyze backwards.
There are the motion paths, one per track point.
| | 02:30 | Now, the way it works when we have two track
points is when you go to apply it to a different
| | 02:35 | layer, that layer is stuck
to the first track point.
| | 02:38 | So I really need to make sure my
anchor point for crowd 1A is right there.
| | 02:41 | So I go back to Composition Window,
select 1A, and with the Pan Behind tool,
| | 02:47 | move my anchor points to the appropriate location.
| | 02:50 | Just about right here and
then go back to the tracker.
| | 02:56 | Just Tracker 1, double-check the target,
which is 1A, which is good, and then apply X and Y.
| | 03:05 | Now the crowd is tracks.
| | 03:06 | Now you noticed that even though they're
moving correctly, they're at a weird angle.
| | 03:11 | That's because they took on the
rotation discovered by the tracker.
| | 03:15 | Now the amount of rotational change is correct
in this case. It's only 0.2 degrees or so.
| | 03:20 | We really want the rotation
to be zero at the start.
| | 03:23 | What we can do, though, is go to the
rotation curve and hit that in the Graph Editor.
| | 03:27 | So I am going to click the Include this property in the
graph and go to the Graph Editor, and there's the curve.
| | 03:35 | I really want the first frame of zero, so
I'm going to select the entire curve by doing
| | 03:39 | a marquee key and then Click-drag
until that first keyframe is down to zero.
| | 03:46 | You just have to drag straight downwards. The little balloon
readout will list the value there, and there's a zero right there.
| | 03:54 | I don't really want it move left or right, that's time.
I want to make sure it's stuck on the first frame there.
| | 03:59 | So there's a zero value for the first frame.
| | 04:02 | Now because I just moved the entire curve, I haven't
changed the amount of rotational change, which is good.
| | 04:08 | So now they start in a more realistic position.
Turn off the Graph Editor.
| | 04:14 | Now because this crowd was shot with a
static camera, which is different from the master
| | 04:18 | shot which has a dolly,
there is a little bit of drift.
| | 04:21 | What I can do, though, is go ahead and
animate the anchor point to correct that.
| | 04:26 | I can also use the anchor point to
get them into a more useful position.
| | 04:29 | I can even want them further
right to fill up the space more.
| | 04:32 | So on the first frame, I can
play around with the anchor point.
| | 04:36 | So maybe I want them to be little further right
and a little bit down, some place around here.
| | 04:40 | Let's say I'm going to line this foot
up with this blue X. So, let's try 523.
| | 04:47 | Actually, we will try the black X, 523, 502.
| | 04:53 | So his toe is pointing toward
this black X, a little bit of a gap.
| | 04:56 | So that's the first frame.
I'll key that, and I'll go to the last frame.
| | 05:01 | Now, we're using there really
distinct mark on the floor as reference.
| | 05:04 | I can see that there's a
little gap that opens up.
| | 05:07 | He drifts to the left a tiny bit.
| | 05:08 | What I can then do is just move him back
into the position for the very last frame.
| | 05:13 | So there's the last frame,
first frame is looking pretty good.
| | 05:18 | We have used the anchor point to move them
into a more useful position and also to prevent
| | 05:23 | a little bit of slide there.
| | 05:24 | If I play it back now, they are moving
with the scene so that looks pretty good.
| | 05:30 | There is one final step I'd like to show you.
| | 05:32 | Now, if you go back to the rotation,
that was a pretty complicated curve.
| | 05:35 | There is a keyframe for every single frame of the timeline.
| | 05:38 | If you go back to the Graph Editor and take
a look at it, there's a lot of bumps in it.
| | 05:42 | One thing that's often useful when you have a
curve that's so complex like this is to simplify it.
| | 05:48 | You don't really need all of those
tiny rotational changes, necessarily.
| | 05:51 | That might show up as jitter.
| | 05:53 | So what we can do is select the entire curve, turn
off Graph Editor and go to new tool called Smoother.
| | 05:59 | There's a sharpening tab over here.
| | 06:01 | Now if you don't see this, you can go up to Window,
and there's a Smoother option right here.
| | 06:07 | So mine is already on.
| | 06:09 | If that property is selected,
like Rotation you can then apply it.
| | 06:13 | There's a Tolerance, which is the strength,
and what it will do is start to remove
| | 06:17 | keyframes to simplify that curve.
| | 06:19 | That will try its best to maintain the proper
shape and therefore, the proper values over time.
| | 06:25 | Let's say I apply 0.1 to Tolerance
and hit Apply, this is what happens.
| | 06:31 | In this case, the changes in rotation were so small
over time that it just really simplified the curve.
| | 06:36 | If I go back and look in my Graph
Editor, I just have a big simplified curve.
| | 06:41 | Now the change in degrees is very small.
| | 06:44 | It's only 0.2 degrees over the entire timeline,
so having a simplified curve is not really
| | 06:50 | that bad in that situation.
| | 06:51 | Once we play it back, this
still should look pretty good.
| | 06:55 | So we've been able to simplify the curve while
maintaining the good motion on the people, and we're going
| | 07:01 | to return to that tool later on.
| | 07:03 | We are now ready to bring additional people image
sequences in to start building up this big crowd.
| | Collapse this transcript |
| Applying tracks to multiple layers| 00:00 | We've successfully motion tracked our first
crowd footage here so it follows the camera, and
| | 00:05 | now we're ready to bring in a
second group and put it in the center.
| | 00:09 | File, Import File, now grab Crowd 1B.
Open that. Drop that on top. Take a look.
| | 00:18 | Now it's just similar to 1A, but it's a little
bit different too. We shot the center position
| | 00:24 | of the camera dolly, but it's also static.
| | 00:26 | So we are going to just follow
mainly the same steps as we did with 1A.
| | 00:30 | First thing to do is draw a garbage mask
around this group of people with the Pen tool.
| | 00:38 | You need to watch out for his
feet so you don't cut those off.
| | 00:41 | There we go, and I want to avoid any kind of shadow.
If I can cut that out, that will help.
| | 00:47 | Not too worried about the lower
shadows down here at the bottom.
| | 00:50 | Next thing to do is to apply keylights.
| | 00:52 | Now to save time, what I can do is go
down to 1A and steal the keylight from that.
| | 00:57 | Just go to the KeyLight effect, Edit > Copy
and go back up to 1B and Edit > Paste.
| | 01:03 | Now, while I am thinking about it,
I'm going to rename this also, 1B.
| | 01:11 | Now right away, it starts to work.
| | 01:14 | Now before we just leave it as is, it's
probably worth taking a look at the test background.
| | 01:17 | It still looks good.
| | 01:19 | However, it's in our best interest to go
ahead and try to just some of the settings on the
| | 01:23 | new keylight to make sure
we have our maximum quality.
| | 01:26 | A Good place to start is with Screen Matte
and to check the Clip Black and Clip White.
| | 01:31 | For example, if I go higher in Clip
Black, it starts to erode too much.
| | 01:35 | So maybe a slightly higher value of 22
will be good here, and then also Clip White.
| | 01:40 | If I go down, we got a
lot of green on the edges.
| | 01:44 | If I go too high, it starts to erode
out these shirts, so they're semi-transparent.
| | 01:50 | So I think the value of 75 will work here.
| | 01:53 | Now the other thing to check is the Replace
method, but we should also check the hard Color
| | 01:58 | and the Soft Color to see which looks best.
| | 02:01 | I think Source leaves too
much green in the shirts.
| | 02:05 | Our Soft Color is looking pretty good.
| | 02:07 | Again, you should always check multiple frames,
especially when they're clapping to see how it looks.
| | 02:13 | I think these scenes are going to work for us.
| | 02:15 | There's also the Screen Shrink
and Grow and the Screen Softness.
| | 02:20 | You can go look a bit lower, I guess, on the
Screen Softness, -0.5, it just does a little
| | 02:27 | extra erosion for us but the
Softness looks good also. Okay, that's it.
| | 02:33 | Next task is to motion track.
| | 02:35 | Now we could run through the entire
motion tracking process again with this layer.
| | 02:38 | However, we have a perfectly good track on
1A and since this crowd is in the same plane
| | 02:43 | as the one on the right, what we can do is
do a Parent as opposed to actually tracking.
| | 02:48 | So I'm going to turn off my Test Background and go
to Parent menu right side 1B and change it to 1A.
| | 02:57 | Let's play that back and see what it looks like.
| | 03:15 | So now B is following 1A, but there is one
potential problem, and that is the anchor points.
| | 03:20 | What parent does is it looks at the position, scale,
and rotation of a layer but ignores the anchor points.
| | 03:27 | So an anchor that was animated for 1A is just
skipped, so there's potential for slide in 1B.
| | 03:33 | What we can do here is to animate the 1B anchor point
to fix that and also get the crowd where we want it to.
| | 03:40 | So for example, let's say that we want to
start the crowd a little bit further right.
| | 03:49 | Fill up that gap so that they're closer together.
| | 03:53 | You can move it over to the right, that layer, and then
pick some feature to line up one of the people with.
| | 03:58 | For example, I can take one of the heels
from this woman and line up with this X here,
| | 04:02 | and use it as a reference point.
| | 04:05 | So if that's the first frame, then I should
have a similar position on the last frame.
| | 04:09 | And indeed, she slides over
a tiny amount to the right.
| | 04:12 | So I need to fix that with an anchor point.
| | 04:14 | Okay, now her heel is lined up again, so here's the first
frame, then the last frame. That looks good. Play it back.
| | 04:40 | Now crowd 1B is following, and we saved
some time by copying the Keylight effects over
| | 04:44 | from 1A and also using the parent, as
opposed to having to track from scratch.
| | 04:49 | Again, when you do use the parent, you have
to pay attention to the anchor point and see
| | 04:54 | if you have to animate that.
| | 04:55 | You can now move on and fill in the rest
of this row here with additional plates.
| | Collapse this transcript |
| Solving bad matte edges| 00:00 | We have got a good start on our crowd.
| | 00:02 | We have imported two image sequences, removed
the green screen, and applied motion tracking.
| | 00:06 | We can now move on and try to finish up this
row. I'm going to import the next piece, which is 1C.
| | 00:13 | Import File, there's 1C, drop
that on top. It's very similar.
| | 00:20 | Static camera but the
camera's is at its leftmost position.
| | 00:23 | So I'll start once again
by drawing the garbage mask.
| | 00:25 | So I'm going to grab the
Pen tool to whittle it down.
| | 00:30 | Draw a mask around the screen.
It gets rid of all the extra garbage.
| | 00:36 | And then I can save time by trying
to copy the key light from 1B upwards.
| | 00:40 | So I go to 1B, highlight keylights.
| | 00:43 | This time I'll use the keyboard shortcut
Ctrl+C or Command+C for copy, then go to 1C
| | 00:49 | and the layer stack and then do
Ctrl+V or Command+V for paste.
| | 00:54 | Then the green screen is removed.
| | 00:58 | Once again we need to go ahead and adjust
that to make sure we have optimum quality.
| | 01:02 | I am going to turn on a test
background so I can see what's going on.
| | 01:06 | And then I am going to rename 1C right now
before I forget, so it's nice and organized.
| | 01:12 | The first thing I can see is that this
shirt on this actress is semi-transparent.
| | 01:16 | The red is showing through,
so I need to address that.
| | 01:18 | So I'm going to try to change the Clip White to
fix that, and lowering the Clip White does work.
| | 01:25 | Now, one danger is I am going to
expand the Matte Edge too far out.
| | 01:29 | So I'm going to turn off Test Background and
see what it looks like against the background
| | 01:33 | and indeed, fixing the shirt has given me
this little white line all the way around the actors.
| | 01:40 | There's certain ways to fix them.
I am going to show you a brand-new way, though.
| | 01:43 | And that's to apply two effects.
| | 01:45 | You can apply a Channel Blur and also
a Curve, something we have used before.
| | 01:50 | So with one 1C selected, I will go up to Effect >
Blur & Sharpen > Channel Blur, and also Effect >
| | 01:58 | Color Correction > Curves.
| | 02:02 | I am going to blur the Alpha, and this is
going to expand the edge but then we can use
| | 02:05 | Curves to erode it inwards.
| | 02:08 | Let's try it at 1.5 Alpha Blur and indeed
the white line gets bigger but what we can
| | 02:15 | do is go down to our Curves, switch it from
RGB to Alpha and create a really harsh contrasty
| | 02:21 | curve here to erode this.
| | 02:24 | So let's see an L shaped curve
like this gets rid of that white line.
| | 02:29 | This is a way to control your Alpha edge with
two effects, and this is similar to a custom
| | 02:35 | Matte Erosion tool that you have control over.
Okay, that's looking good.
| | 02:39 | Now we can go ahead and get the Motion
Blur from 1A, and once again, I am going to do
| | 02:44 | a parent, and change the 1C Parent to 1A
and then check for any kind of slide, and also
| | 02:52 | want to make sure I pair a
good position to the anchor point.
| | 02:55 | So I'll expand this on the first frame.
I'll go ahead and just key anchor point.
| | 03:00 | I'll zoom out and figure out
where I want the crowd to be.
| | 03:02 | I'll experiment a little bit
here and maybe about right here.
| | 03:07 | I want to fill out this entire row.
| | 03:09 | Now there's not a whole lot of marks and
ground here to keep track of in order to key my
| | 03:15 | anchor points a second time.
| | 03:16 | There is this line here, though, so if I place
this guy's foot around that line right here,
| | 03:22 | that's something I can keep track of.
| | 03:25 | So now I'm going to go to the last frame, and
this makes sure his foot stays on that line.
| | 03:32 | First frame and last frame.
It's looking pretty good.
| | 03:36 | And I'll play it back and see if that works.
| | 03:41 | Okay the Tracking is working well and again
one thing to pay attention to is when they
| | 03:46 | clap, so I'm going to go and zoom
in and take a look at their hands.
| | 03:49 | I want to make sure that they don't
have too much of a heavy white line.
| | 03:54 | I don't' want their arms to
be eroded out too much either.
| | 03:57 | So while I'm zoomed in with their hands up
in the air, I'll go ahead and return to Curves
| | 04:02 | and make some further
adjustments until I get a good result.
| | 04:07 | I'll test a few more frames really quick,
and that's looking good enough I think.
| | 04:14 | So that's keyed and tracked.
Now we are going to move on to the next one 1D.
| | 04:21 | Now for 1D, I'll follow the same process with
the mask, with keylight, with the parenting,
| | 04:27 | and with the keyed anchor point.
| | 04:28 | So I'm going to jump ahead at this point
and show you the finished result of that.
| | 04:34 | Let's take a look at what
I've done with crowd 1D.
| | 04:37 | Applying keylight and applying the
motion tracking through parenting.
| | 04:40 | Now very little change, I was able to go to
1C, copy all the effects from 1C, key light,
| | 04:47 | channel blur and curves
and paste that on to 1D.
| | 04:49 | The only thing I changed was a
slight tweaking of the Alpha curve.
| | 04:54 | If you don't see it initially, go back to RGB
and then go to Alpha again, and there it is.
| | 05:00 | It's a very slight adjustment to improve the
edge, otherwise all the other settings were fine.
| | 05:05 | As I mentioned, this was parented the 1A
and then it had its own anchor point animated.
| | 05:11 | In this case, for reference, I just lined
up this woman's foot with this X right here.
| | 05:16 | I am going to play that
back and here's the end result.
| | 05:22 | So that looks pretty good.
| | 05:26 | We now have the first row assembled, through
keylight and motion tracking and a few other
| | 05:30 | tools, you can now on move on to the second
row and then also use special effects on the
| | 05:35 | solar panels to better
integrate them with this new crowd.
| | Collapse this transcript |
| Creating fake reflections and parallax| 00:00 | We have assembled a nice crowd here on the
front row using four image sequences, some
| | 00:04 | green screen tools, and motion tracking.
| | 00:06 | Before we move on to the second row, however, I'd
like to go back to the panels and address those.
| | 00:10 | There's a couple of things missing here.
| | 00:12 | One is any kind of reflection and two is
some kind of rotational shift that you would normally
| | 00:17 | get with the movement of the camera, and that's
not occurring because it's just motion tracked
| | 00:22 | where it moves up, down, left, and right.
Let's address the Reflection first.
| | 00:26 | One way to do this to Copy the 1A layer.
So Edit > Duplicate and then affect that copy.
| | 00:34 | I am going to pull that New
layer down below the first one.
| | 00:37 | I'll rename that reflection
because that's what it's going to be.
| | 00:42 | And then we can adjust it.
| | 00:44 | First thing I want to do is
blur it so add Effects > Fast blur.
| | 00:48 | I'll crank up the Blur pretty high here
to 10, and you can start to see it now.
| | 00:53 | And now when I move it
over to the right and down.
| | 00:56 | To do that what I can do
is offset the anchor points.
| | 01:00 | So I'll reveal the anchor points, click on
the Include this property button, go to the
| | 01:04 | Graph Editor and take a look.
| | 01:06 | Now if it doesn't show up right away, what I
can do is go to this Choose graph type menu
| | 01:10 | and make sure it's set to Edit
Value Graph, and there it is.
| | 01:15 | Now, if it's not framed what I can do is
select those keyframes up here at the top and try
| | 01:19 | to use Fit the selection to view.
| | 01:22 | If it's still not cooperating, what
I could do is click out of the graph.
| | 01:26 | A lot of times it will reset then.
Here's the X curve.
| | 01:29 | I'll select that and move that down
to push to the right. There we go.
| | 01:36 | I can grab the Y curve, move it down, which will
also move the reflection down. That looks good.
| | 01:44 | The reflection is very opaque at this point, so
I'll reduce the opacity to 50%, and it looks better.
| | 01:49 | And also I have to address the fact
that's over hanging in the ground.
| | 01:53 | Now there's a mask here already,
left here from the green screen.
| | 01:55 | I can delete that and then add a new one.
| | 01:59 | With the Pen tool, I'll just draw a new
rectangular mask over the panel very loosely.
| | 02:04 | Now I have to animate that over time, so I'm
going to key the Mask Path on the last frame,
| | 02:09 | and then move to the first frame, pick the
entire mask by double clicking the line and
| | 02:15 | transforming it over
and give myself a new keyframe.
| | 02:19 | Now the edge that cuts very hard on that mask,
so I'm going to go ahead and feather that
| | 02:23 | to 30, and there's your reflection.
Now let's show the Rotation.
| | 02:30 | I need to go back where the panels are
living, and that's in the SetDress composition.
| | 02:35 | What I like to do is line up the panel tops and
bottoms with some features that are already in the scene.
| | 02:42 | What I can do is create a couple of solids and
turn those into new rulers, or new straight edges.
| | 02:47 | So I'm going to go up to layer > New > Solid.
| | 02:50 | I want to make a Solid
that's very long but very short.
| | 02:54 | So 1280 by 60 is good and some bright color.
| | 02:57 | I am going to rename this
ruler 2 and then I could place it.
| | 03:03 | I am going to use this
one to reference the screen.
| | 03:06 | Now the screen is hidden, so I
am going to turn that back on.
| | 03:09 | I'm going to see that the bottom edge is a
good reference point for that perspective.
| | 03:13 | So I'll move that up to the bottom there and then
I will rotate that ruler, so it lines up better.
| | 03:22 | This case needed 1.5, looks
pretty well, that lines up.
| | 03:25 | Now the idea with the thickness is I can line up the
tops of the solar panels with the bottom of this ruler.
| | 03:32 | Now I need a second ruler to give
me reference for the bottom here.
| | 03:36 | So I'm going to copy this ruler,
Edit > Duplicate, that becomes ruler 3.
| | 03:40 | Then move that and line it
up with the top of that riser.
| | 03:45 | And this can be a different
rotation value of say 2.2.
| | 03:50 | It should work pretty well, and there we go.
| | 03:53 | Now that's the start position on the first
frame, so I'm going to need to key the position
| | 03:57 | rotation for both these rulers and go to
the last frame and reposition and/or re-rotate
| | 04:06 | them to get them to match their features.
| | 04:09 | Now for the top ruler, the
rotation is a little bit off now.
| | 04:12 | So ,I'm going to change
that top rulers rotation to -1.
| | 04:15 | That's a better match.
The bottom one looks pretty good right now.
| | 04:22 | I don't really need to change that.
The change is so small.
| | 04:24 | I'm not going to worry about it.
| | 04:26 | So now what I can do is fit my panels
between these two dimensional red lines.
| | 04:30 | Now this is a bit of a cheat.
| | 04:31 | It's not a perfect perspective, but
it's better than what I have currently.
| | 04:34 | Let's start with the left panel.
| | 04:37 | Turn on the scale, time icon, and scale it down, so
it fits in between the two red lines. There we go.
| | 04:44 | So on the bottom, the white line is touching the
red and on top the blue line is touching the red.
| | 04:49 | I'm going to go to the first frame
and make sure the scale is equivalent.
| | 04:53 | So maybe just one degree different.
In other words, it was 91, and now it's 90.
| | 04:59 | That looks good for the scale.
I can also adjust the rotation.
| | 05:04 | Now by default, you only
can rotate in one direction.
| | 05:06 | However, if I convert that to a 3D layer, I
can rotate in an X,Y, or Z direction.
| | 05:12 | So in order to convert to 3D layer,
toggle switch is down here at the bottom.
| | 05:17 | Get my 3D layer button and
turn it on for a panel left.
| | 05:20 | Once I do that, you'll see
there's three rotations X,Y, and Z.
| | 05:25 | Let's start with the Z.
| | 05:26 | I'll click that on to
keyframe that, and I'll try a -1.
| | 05:33 | That makes it more perpendicular.
Let's go to the last frame and check that.
| | 05:37 | How about a little bit less -0.5.
So here's your last frame.
| | 05:42 | Here's your first frame.
That's more consistent now.
| | 05:46 | So I think that panel is good.
Let's move on to the right panel.
| | 05:48 | Now I can see our area to the right
panel is much smaller than it should be.
| | 05:52 | It should fit between these two lines.
| | 05:53 | So I'm going to start by scaling
until it fits roughly the same way.
| | 05:58 | Now I can adjust my anchor points,
although I'm not going to keyframe that.
| | 06:01 | All right, it looks pretty good.
| | 06:04 | Now there is a little bit of a
gap here, it's rotational issue.
| | 06:06 | So I can go ahead and get right that
to the 3D layer and try some rotations.
| | 06:10 | In this case, the Y and Z is going to help.
We'll start with the Z.
| | 06:15 | Make it -0.5, makes it more perpendicular and then
I can experiment with the Y too. Let's try 3 there.
| | 06:26 | I do want to make sure that these line
up with the stands that are close by.
| | 06:29 | So I'm going to turn off
that bottom ruler temporarily.
| | 06:32 | In fact, let's turn both of them, off.
Now I'm going to count my dots.
| | 06:38 | In this case, on the first frame, 5
dots over, the stand lines up right here.
| | 06:43 | I'm going to keep that in mind.
I'm going to go to the last frame now.
| | 06:47 | I want to make sure the same thing happens.
Actually, it's pretty close 5 dots over.
| | 06:53 | I could probably change the Y
rotation to a tiny amount. Like that 2.5.
| | 06:59 | We'll turn the rulers on, one
more time. Take a quick look.
| | 07:03 | Now again, it's now going to
be perfect but should be closer.
| | 07:07 | Now, I think I'm going to adjust my scale
one more time and then we'll be done with this.
| | 07:11 | I can see that my scale and my panels at
the very end is not quite small enough.
| | 07:16 | It's a little bit too large now.
| | 07:17 | So I'm going to do a slight reduction on the
scale, and that looks a little bit better there.
| | 07:23 | Not perfect but pretty good. Now that's done.
I can turn off my rulers. Turn off my screen.
| | 07:31 | Go back to my Add Crowd Comp, and take a look.
Here's first frame and here's the last frame.
| | 07:39 | Definite rotational and scale shift
which matches the parallax better.
| | 07:42 | We can now move on and start
filling the rest of the crowd.
| | Collapse this transcript |
| Utilizing prerendering and precomps| 00:00 | By this point, we have built up quite a
complex project, there are a number of compositions
| | 00:04 | and also quite a few layers and effects.
| | 00:06 | What would be good is to take
a look at ways to save time.
| | 00:10 | One way is to pre-render one of the compositions.
So I'll write that composition out of the disc.
| | 00:15 | That'll be loaded much faster when it comes
time to do new calculations down the road.
| | 00:19 | You can also pre-compose certain layers
which automatically nest those layers into a new
| | 00:23 | composition which again can save time once a
composition has been previewed to the RAM preview.
| | 00:29 | Let's try the pre-render first.
I want to go back to SetDress.
| | 00:33 | That's pretty much done right now.
| | 00:35 | So I can have that open then go up
to Composition and go to Pre-render.
| | 00:40 | What Pre-render normally does is it takes
that composition and adds it to the render queue.
| | 00:45 | Now this is possible, if you're
using this version, version 6.
| | 00:49 | It might pop up a window where
it asks you where to save first.
| | 00:53 | Once you pick a place to save out your file,
then you'll still be given the render queue.
| | 00:58 | Once you get to the render queue, I want to
make sure your rendering format is useful to you.
| | 01:02 | I don't really want to render
out an AVI that has compression.
| | 01:06 | So I'm going to click the Output Module
right here, then pick a different render format.
| | 01:11 | In this top menu, I can change
from AVI to something more useful.
| | 01:15 | In this case, I'm going to render PNG sequence.
| | 01:17 | Once I have had that selected, I can
click OK and go out of that window.
| | 01:22 | Now to change the name of the output, if
that's a good name, I can keep it, or I can click
| | 01:26 | on that and change it.
| | 01:27 | This will also allow me to
pick a place to render to.
| | 01:31 | I don't want to render on the desktop.
| | 01:33 | I would like to render into my
Prerender folder, which already I have set up.
| | 01:37 | You can render out wherever it's useful.
| | 01:40 | Now I'm going to match my old
pre-render, which is already in there.
| | 01:44 | So I'm going to make a name
like this: SetDress.***.png.
| | 01:51 | That just means that I want three
numeric place holders for numbering.
| | 01:57 | Now I'm going to Save and then once I have these two
things set here, I can render with the render button.
| | 02:04 | It will also take a few
minutes based on your machine speed.
| | 02:08 | Once the render is finished, you'll get a
little chime there but then you can return
| | 02:15 | to the place where SetDress is nested and
what you'll have is instead of that composition,
| | 02:22 | you'll have that new render.
| | 02:24 | If you look at the very bottom, you can
see that a new Pre-render has been loaded and
| | 02:29 | put in the place of where that
nested composition used to be.
| | 02:32 | These are just frames on disc now, which will
operate much quicker than having to go through
| | 02:38 | the entire nested composition.
| | 02:39 | Now, if you want to go back to the original
one, and it's still there and your free to
| | 02:46 | Renest it manually.
You can just pull it down and put it back in.
| | 02:50 | I'm happy with the pre-render frames, though,
so I'm not going to not nest this time.
| | 02:53 | We'll just leave it as is.
| | 02:54 | Now another thing I mentioned is pre-composing.
Pre-composing is automatic style of nesting.
| | 03:00 | So what I can do there is, for example, I can highlight
all my crowd layers and go to layer and go to Precompose.
| | 03:09 | When I do that, it's going to give me this
window, Precompose, it will ask me for a new
| | 03:14 | composition name, Crowd
1A to 1D and then click OK.
| | 03:23 | Those crowd there disappear and what I
have instead is a nested composition.
| | 03:27 | It's made a new composition for me.
| | 03:29 | Now it's not visible on the timeline, but
it's in the list of compositions I can choose
| | 03:34 | from up here and here it is.
| | 03:36 | Once we open that, all my
layers are there instead.
| | 03:40 | So it basically nested it for me.
| | 03:43 | What's great about that is we now have a single layer
that I can use to adjust this entire row of the crowd.
| | 03:50 | So we've pre-rendered, and we've also
pre-composed to help the machine go a little bit faster
| | 03:54 | as we start to build up this composition.
We can now add more people to this crowd.
| | Collapse this transcript |
| Rotoscoping greenscreen| 00:00 | We've assembled a nice front row crowd here,
we've also adjusted the background quite a bit.
| | 00:04 | We're now ready to move on to
the second row of the crowd.
| | 00:07 | So, many of the same issues will apply in
terms of green screen but there will be some
| | 00:11 | new problems that crop up. Let's get started.
| | 00:13 | I'm going to go and get the 2A Crowd File
under Footage/Crowd 2A, we'll drop that on
| | 00:25 | top and talk about it. Now it looks the same
except at the very end, this actor is so tall,
| | 00:32 | his hands crossed over the edge
of the green screen, that's bad.
| | 00:35 | That means we can't do a simple Garbage
Mask but we have to Rotoscope that to save his
| | 00:40 | hand, if we don't, we either cut off his hand,
we wind up showing all this garbage up here.
| | 00:46 | So, we start the same way,
| | 00:49 | by drawing a Mask, but I will take in to
account his hand shape. So back to the Pen tool, I'll
| | 00:57 | draw a Mask, and I will start a
very simple, and I'll add to it.
| | 01:05 | Now just so, two things more clearly, I am
going to turn on my test background once again,
| | 01:08 | I can turn off my other layers if I don't need.
| | 01:13 | So, first thing you need to do is to take
into account his hands so one way to do that
| | 01:18 | would be to insert additional points here.
| | 01:20 | You can either go to the Add Vertex tool or
just let your mouse hover over the masked line.
| | 01:26 | I going to add a few more points
here and then I could shape those.
| | 01:35 | This is a good frame to start on because his
hands were crossing over the bar just barely.
| | 01:41 | Now if you have enough points, add some more, now
if his hands are crossing, not to worry about them.
| | 01:50 | They do cross over at some point, so it's
that one more point right here, give that
| | 01:59 | a try, there is a good frame.
| | 02:02 | Now this will definitely
be keyframed over time.
| | 02:05 | So I am going to activate the Time Icon for
the Mask Shape and then move on to another frame.
| | 02:11 | Now one way to approach the Rotoscoping is
to set a key where there is an extreme position.
| | 02:16 | For instance, as his hands are wide open
and/or when his hands are touching each other.
| | 02:21 | So you might want to just play the timeline,
figure out where those key positions are.
| | 02:25 | For example, right here.
| | 02:29 | I want to reshape the mask
to fit this new hand position.
| | 02:32 | Now it's just going to take some time, so
I am going to skip ahead and show you the
| | 02:37 | final result in a few seconds.
| | 02:39 | Now, I do want to also mention the fact that
there's a problem down here with this concrete
| | 02:46 | patch showing through, we
can't green screen that out.
| | 02:48 | What I can do, though, is create a
second Mask to subtract from that area.
| | 02:52 | So I am going to grab the Pen tool one more
time and draw a Mask over the top here that
| | 02:58 | fits that kind of
triangular shape up to her calf.
| | 03:03 | I don't want to add this one, I want to subtract,
so I' going to set that Mask 2 menu to Subtract.
| | 03:09 | This will also be animated over time, so I'll
go ahead and turn on the Mask Path keyframe,
| | 03:15 | that sets the key and then we go to
some other frame and then reposition it.
| | 03:21 | So, both of these masks
will have to be keyframes.
| | 03:26 | One to remove this concrete patch and two,
to make sure his hand stay in frame the entire
| | 03:31 | time, without revealing
any of the other garbage.
| | 03:34 | So now that I had the basic Masks drawn,
we're ready to construct the rest of the crowd.
| | 03:39 | We'll be taken somewhere steps by applying
garbage masks, the green screen tools like
| | 03:44 | Keylights and then Transform Tracking.
| | 03:47 | Now there will be some additional Rotoscoping,
for example, on 2B, the actor's hands crossed
| | 03:52 | the edge of the frame once again so
that requires some additional work.
| | 03:55 | But since many of the steps we have done before,
I'm going to skip ahead and show you the end result.
| | 04:01 | Remember, keyframes now in both Masks is
quite a few on the Mask 1 that's taken care
| | 04:07 | of the garbage mask and his hands, and if
you are on the Mask 2, that's taken care of
| | 04:11 | this concrete patch right here.
| | 04:13 | If I play it back, you'll see the
Rotoscope follows his hands at the top.
| | 04:18 | So, now it's ready to go through the
green screen process and have that removed.
| | 04:23 | The same time, I am going to go back into
the PreComp from 1A to 1D, go to 1D, select
| | 04:33 | that and steal its effects.
| | 04:35 | So I'll just copy the Keylight, the Channel
Blur and the Curves and go back to the Add
| | 04:43 | Crowd Comp and paste those on to 2A.
| | 04:50 | Anytime you do that, you should probably
adjust the settings, you don't want to just leave
| | 04:56 | it as it is if you turn back on the background,
see it looks pretty good, but I still would
| | 05:03 | want to go into Keylights, and adjust things
like the Clip White and Clip Black, make sure
| | 05:10 | that's good, some of the other settings.
| | 05:16 | Also any other effects you might have, like
in this case, there is a Curves for the Alpha
| | 05:20 | which erodes the edge,
that's looking pretty good.
| | 05:26 | Now we're ready to Motion Track this.
| | 05:28 | Now because this is a separate row, it's
further back, I will make a brand-new tracker, so
| | 05:33 | I'm going to pick the lowest layer,
go to Animation > Track Motion.
| | 05:38 | Now this is actually Tracker 2, even though
we pre-rendered out this lowest layer here,
| | 05:44 | the old tracker was carried over.
So this is Tracker 2.
| | 05:47 | I do want 2 Track Points on Tracker 2 to
Track Point 1 and 2, I want to put the Track Point
| | 05:54 | 1 on the left, let's try the fourth X up--
or the fourth X down I guess--makes the boxes
| | 06:03 | bigger and then try to go across from that
and actually the fourth set of X's up, lines
| | 06:07 | up pretty well over here.
| | 06:10 | So I'll put Track Point 2
at that spot, here we go.
| | 06:22 | Now I'm not quite at the end of the timeline but
what I can do is analyze forward, then go backwards.
| | 06:30 | All right, there is a motion path, now
before I'll apply that, I need to make sure that
| | 06:39 | 2A has its anchor point in good position.
| | 06:43 | So, there is a fourth X right there, I'll get
the Pan Behind tool and move the anchor point over.
| | 06:50 | Here it goes, now I can apply back to the
tracker, make sure Tracker 2 is selected,
| | 07:01 | the target, 2A so I am good there,
hit Apply X and Y, and there we go.
| | 07:10 | Now here is a situation where there is a
huge rotation -356 degrees, that happens on occasion
| | 07:18 | based on positions of the Track Points.
I am going to try to fix that, though.
| | 07:23 | Let's see what the differences is between
the first frame and last frame, so 356.3 356.6.
| | 07:33 | So 0.3 degrees difference, so a large negative number.
| | 07:38 | What we can do instead is get rid of this Rotation
Animation, go to frame 1, and put it back to zero.
| | 07:49 | Go ahead and key that, go to the end, and then
change it by the 0.3 degrees, rather negative 0.3.
| | 08:00 | Now it's still the final location of
screen but we can use our anchor point to get it
| | 08:06 | back to where we want it.
These Rotations corrected now.
| | 08:09 | So I am going to slide this back up to around
that fourth X that we have, and line up somebody's
| | 08:20 | foot to one of these X's just for reference.
| | 08:24 | Maybe this guy's flip-flopped to this X right here,
I'll go ahead and key that on the last frame now.
| | 08:32 | Now go to the first frame and make
sure it's roughly in the same position.
| | 08:38 | Now here is a case where the Motion Path is
covering up that marker, so we are going to
| | 08:41 | have to zoom in really close.
This is going to take some time.
| | 08:49 | So I am going to skip ahead and show
you the final result in a few seconds.
| | 08:56 | So, I've added Crowd 2B and went through
the whole process of adding the Garbage Mask,
| | 09:04 | removing the green screen, and
also applying the Motion Tracking.
| | 09:08 | Here's the mask, it's not animated, so pretty
simple shape, the green screen tools are similar,
| | 09:14 | it's combination of Keylight,
Channel Blur, and Curves once again.
| | 09:20 | For Motion Tracking, I just parented 2B
directly to 2A, and once again, animated the anchor
| | 09:27 | point to make sure that some
marker lined up with the people.
| | 09:31 | For example, I have this woman's heel
right in the corner of this blue tape mark.
| | 09:36 | So, 2B is done, now we're ready to move on
to the third part of this row which is 2C,
| | 09:43 | and that will require some
additional tools we have not used yet.
| | Collapse this transcript |
| Employing multiple keyers| 00:00 | We've gotten 2A and 2B set up and those are
working in terms of green screen and Motion
| | 00:04 | Tracking, we're now ready to finish up the
second row with 2C, but 2C has some other
| | 00:10 | issues but we will talk about those right now.
| | 00:13 | Let's import it first, back to the Footage
folder and 2C, drop this on top, turn off
| | 00:26 | the Caps Lock, and there it is.
| | 00:28 | Now one problem is this
little piece of blue tape.
| | 00:32 | Unfortunately the actor's arms crossed that,
so in order to get rid of that, we could use
| | 00:36 | the rotoscope which takes a lot of
work, or we could try to key it out.
| | 00:40 | Now if we key that blue out, we might not
be able to get the green, so we might treat
| | 00:45 | that area separately, in fact
we'll save time if we do that.
| | 00:49 | So what we can do first is isolate
that area to pull that blue out of it.
| | 00:55 | I'm just going to draw a Mask over that
problem area, and I am going to turn off other parts
| | 01:04 | I don't need like the background, I'll turn
on the Test Background, though, so I can see
| | 01:08 | the red, I don't need the other
crowds, I'll turn those off, there we go.
| | 01:13 | So, we could apply a keylight to this, or we
could apply something that's a little bit
| | 01:17 | simpler, there's another keying tool called Color Key.
So I'm going up and get Effect > Keying > Color Key.
| | 01:25 | Color Key just tones in certain colors
which are picked with this eye dropper, and then
| | 01:30 | you can adjust the tolerance to
alter the aggressiveness of the removal.
| | 01:36 | So there that goes.
| | 01:37 | So if you have gotten rid of that little spot
there, and if you want to get rid of the green,
| | 01:42 | you can either apply another Color Key or
go back to a good old-fashioned keylight.
| | 01:46 | So it'd be two keyers right beside each other.
| | 01:50 | Now we do have to take a look here because
arms do cross, and we do want to make the
| | 01:56 | settings work for not only removing the blue
tape that also so it don't erode into the arm.
| | 02:03 | Now we can make this Mask small as we can
and/or we can adjust the settings and the
| | 02:12 | Color Key to help preserve the
arm but make the tape go away.
| | 02:15 | Let's try a Tolerance of 90, so it's still
being eroded there but also a Feather which
| | 02:26 | is a softening of the edge of 2 so that does a pretty
good job of moving that tape but maintaining the arm.
| | 02:38 | Now to get rid of the green as I said, we
can try a keylight again just sample that
| | 02:47 | green, goes away pretty quickly, go
through the Clip Black Clip White again, there we
| | 02:58 | go, also Screen Gain until the tape goes
away and helpfully maintaining the arm.
| | 03:14 | So, I think the good thing for this would
be 170 for Screen Gain, Clip Black at 29,
| | 03:28 | Clip White at 33, and the Screen Softness
at 0.5. That's still there a little bit so I
| | 03:42 | am going to go back up to the
Color Key and tweak that a bit.
| | 03:47 | It's also Edge Thin which allows you to erode out
that Color Key edge, it's looking pretty good there.
| | 04:02 | The next trick is to get the rest of the crowd,
rest of that piece of footage in there, so
| | 04:06 | I'm going to Copy this layer, but I'm going
to reverse the Mask, go down to lower version,
| | 04:18 | change the Mask to Subtract so
that allows me to interlock 2 Masks.
| | 04:24 | Now where the bodies are, it's adding that
Color Key on there and the Color Key is attacking
| | 04:29 | the hair, and that's why we
separated out in the first place.
| | 04:31 | So, what I can do to my lower layer, let's
get rid of the Color Key and then re-adjust
| | 04:36 | the keylights left to make
a good Matte for that layer.
| | 04:42 | Now, if we turn off the mask so I can't see
it, I will probably see a little line right
| | 04:47 | here, in fact I do, where two Masks cross over.
| | 04:51 | So what I need to do is Expand
one Mask and erode the other.
| | 04:54 | So I'm going to do to the top layer now which
is just that part of the hand and Expand that
| | 05:01 | Mask by two pixels and then I can go down
to lower mask and adjust that if I need to
| | 05:09 | and go to the opposite way or also expand that.
| | 05:13 | So I think the opposite way is
best in this case, so a negative 2.
| | 05:18 | Now again, I have to adjust the keylight to make
sure that the body part of this crowd is looking
| | 05:23 | good and matched up with the arm well.
| | 05:27 | Now we can go ahead and apply the Motion
Tracking once our green screen work is done there.
| | 05:31 | And in this case, I'm going to
Rename this layers real quick.
| | 05:34 | So, Lower one 2C and call it 2CBody
and the upper one, I can call 2CTape.
| | 05:44 | So, I'm going to make the 2CBody parented
to 2A once again and then the Tape layer,
| | 05:56 | I am going to parent to the body.
| | 06:00 | Now I have to go back down to the
body and worry about the anchor point.
| | 06:03 | Now, another things that's happened is I
didn't create a overall Mask for the Body layer.
| | 06:08 | So, I can do that, I can add one more Mask
to just create a garbage mask here, now
| | 06:19 | I cant' really just add it, I have to
experiment with how this mask can react.
| | 06:25 | So, if I drag Mask 2 up to the top, this
actually works, let me turn off the tape, so there
| | 06:33 | is the hole in the tape or the tape was,
I turned it back on, it fills back in.
| | 06:38 | So you can either change the order of the
Mask or experiment with the way they're added
| | 06:44 | together through Add or Subtract.
| | 06:47 | Now I can turn off Test Background, I can
turn on the Real Background, turn on these
| | 06:54 | other crowd layers, I've already parented
this new part of the crowd, so it follows
| | 07:02 | but I still need to do off the anchor points,
so I'm going to deal with that on the Body
| | 07:06 | layer, go to Frame 1, and get this crowd to
a good position, give them some room here,
| | 07:18 | spread them out, you may lower them down a bit,
find a good place to line up the characters.
| | 07:23 | Like for instance, put this woman's heel
in this X, key that, go to the last frame and
| | 07:31 | go can go ahead and offset it so it lines up
again, there you go, first frame and last frame.
| | 07:47 | So row 2 is complete.
| | 07:49 | Now we had a little bit more of work for this
third image sequence with the blue tape, but
| | 07:54 | that's something you can often do is apply
multiple keyers on multiple levels to restore
| | 07:59 | the Matte and get rid of all the unwanted parts.
| | 08:02 | We're now ready to move on to the third lawyer, and
fill up this room and get it nice and completely full.
| | Collapse this transcript |
| Applying matte tools| 00:00 | At this point, we have two nice rows of people
start forming a crowd, we can bring in additional
| | 00:04 | image sequences, though, to
fill it up even further.
| | 00:07 | So let's start working on row three.
| | 00:10 | File > Import > File, there's
Crowd3A, Open, and it comes in.
| | 00:17 | I do want to mention that I am starting to
use folders here and these help organize all
| | 00:22 | the Footage in your Project panel, otherwise,
you'll have a really long list of Footage
| | 00:26 | and artwork, and so on.
| | 00:29 | Once you have a folder, you can click-drag
Footage into that Folder one at a time or
| | 00:34 | Shift-click multiple pieces
and drag those all in at once.
| | 00:38 | If you want to make a new folder just right
mouse click in the empty area and pick New Folder.
| | 00:46 | Back to Crowd3A, here it is
right here, let's drop that on top.
| | 00:53 | Now, 3A has many of the same problems as
green screen, let's create a great Garbage Mask
| | 00:59 | and so on, and of course
has been Motion Tracked.
| | 01:01 | The problem is though their feet
are cut off, you can't see them.
| | 01:05 | Also in association with that, there are no
Tracking Marks we can see where their feet land.
| | 01:10 | Therefore, we'll have to use tracking from
some other layer like 2A then offset, so it
| | 01:15 | looks like they're moving the correct distance.
| | 01:18 | As it happens, any object that's closer to
the camera, it's going to move more in the
| | 01:22 | same amount of time, so I'm going to Rename this
layer, and we'll get started with that problem.
| | 01:27 | First, I am just going to click Garbage Mask
and then I'm going to steal the Green Screen
| | 01:39 | Tools from some other layer like 2B, copy those,
paste them back in, and there's a green screen.
| | 01:52 | Now, of course, we need to adjust keylights
and the Curves and whatever else we have on
| | 01:56 | that to make sure we have maximum quality,
but let's assume that it's good for now.
| | 02:00 | So, to solve this problem of the Motion
Tracking, I'm going to hide the other layers, but I'm
| | 02:07 | going to parent 3A to 2A.
| | 02:13 | Now it's going to move, but the question is, is
it moving enough for that parallax distortion
| | 02:21 | where the foreground is
quicker than the background?
| | 02:26 | One trick is to compare this to some
feature in the background like we had previously,
| | 02:31 | but not to where their feet,
but something else close by.
| | 02:35 | So if I go ahead and start to alter the
anchor point here, you can find something now.
| | 02:41 | I really wanted this group to be further
left anyway so that's good, also I'll move them
| | 02:44 | further left but here is a nice row of Xs,
and this is a good indication of the parallax.
| | 02:52 | Here's the first frame, you could see how that
row or column goes, and here's the last frame.
| | 02:58 | So, by the last frame, this is much
straighter column, so what I can do is line this group.
| | 03:06 | So for instance, her dress lines up with
this X, key that, then go to last frame and make
| | 03:14 | sure that I move this group over far
enough to have her dress touch that X again.
| | 03:20 | If I turn on some other crowds now, we'll
see that this group moves faster than the
| | 03:33 | groups back in the background.
So, first frame, last frame.
| | 03:41 | So, using those X is a good
indication where that group needs to be.
| | 03:47 | Now I do need to figure out the Y direction too.
| | 03:50 | I took care of the X direction
in terms of the anchor point.
| | 03:54 | Let's consider the Y.
| | 03:54 | Now, on previous rows, I had to offset the
Y a little bit to make sure that they were
| | 04:02 | dipping down and off now, it's just a matter
of making sure that the certain part of the
| | 04:07 | person match the X in the ground, but
ultimately the Y also changed, so I need to consider
| | 04:13 | that on this anchor point animation.
| | 04:16 | So if they start at 360 Y here, they need
to be further down Y at the very end, so,
| | 04:26 | other offsets released 6 pixels, so we can
go a little bit further, because we're so
| | 04:30 | far in the foreground, say
something like 12 pixels difference.
| | 04:34 | Now I don't want to go
that direction, that's up.
| | 04:37 | I rather go the other direction.
So if it was 360 before, I need to go to 348.
| | 04:43 | That's a 12-pixel difference.
| | 04:45 | So in other words, due to nature of the
dolly move at this unusual angle that the people
| | 04:52 | are a little bit higher at the beginning,
and then you see less of them by the end,
| | 04:56 | and this is more acute for
people on the foreground.
| | 05:01 | Now there are several more parts to the third
row and these require a similar application of tools.
| | 05:08 | You'll have to create a Mask, watch out
for any blue tape, if so, treat it like prior
| | 05:13 | versions where you apply multiple keyers.
| | 05:15 | Check for any Rotoscoping that might need
to be done, we have to see if their hands
| | 05:19 | cross the edge of the green screen.
| | 05:21 | We have to motion track them, and in that
case, you'll parent in the 2A once again.
| | 05:26 | And then also go ahead and animate the
anchor point and make sure that the anchor point
| | 05:29 | animation allows those people lineup with a
certain landmark, like this row or column of Xs.
| | 05:35 | That takes a little while, so, I am going to
skip ahead and show you the final result of that.
| | 05:39 | I've completed the third row by bringing in
the 3B and 3C and going through some of the
| | 05:44 | steps we have previously.
| | 05:46 | Let's run through those
and explain what's going on.
| | 05:48 | 3B is a little unusual and has two Masks,
if we turn off some of these other layers,
| | 05:54 | we can see that the right-hand side is cut out.
| | 05:57 | If we look out the masks here, Mask 1 and Mask 2,
Mask 2 which is on the right here is Subtractive.
| | 06:04 | That's because there was a tall guy there in the
crowd who was also on 3C right, right beside himself.
| | 06:11 | That seemed a little strange, so this mask
is Subtractive to get rid of him from 3B.
| | 06:19 | In terms of 3C, the mask is a little bit
more standard just a big Garbage Mask to get rid
| | 06:26 | of the unwanted part of the set.
| | 06:28 | Now in terms of the various green screen tools,
these were just copied up from 3A and adjusted,
| | 06:35 | so once again, there are
Keylight, Channel Blur, and Curves.
| | 06:40 | Now there is one slight variation for 3C,
that's a Spill Suppressor, I am going to turn
| | 06:46 | this off so you can see it.
| | 06:50 | This one in spite of all these adjustments
produced a pretty heavy green line on the
| | 06:54 | side of this character.
| | 06:56 | So you can then Spill Suppressor through
Effect > Keying > Spill Suppressor, turns back on.
| | 07:06 | Now there is really only one option here,
and that's to pick the color that represents
| | 07:11 | the spill on the edge, in fact,
I can turns this off again.
| | 07:13 | There is a green, I can pick that green on the
very edge and turn it back on, and it removes it.
| | 07:24 | Let me turn on 3A once again, now one thing
that happened once I put these all together
| | 07:30 | is there's a lot of overlap,
they are really tightly packed.
| | 07:35 | Now, ultimately 3B needs to be a parent of
3A as is 3C, that's what's driving them.
| | 07:43 | But they wind up really
closely packed together over here.
| | 07:47 | So what I can do is go back to 3A and then
move 3A over, so it's not jammed up here.
| | 07:54 | Now I like the values I already have for
the anchor points for the most part, so what I
| | 07:58 | can do is just maybe move them over a 100
units towards left, so on Frame 1, let's go
| | 08:05 | up 100, now this point because 3B and 3C are
parented the whole group moves over, 3B and 3C also.
| | 08:13 | So if I want to make this adjustment, what
I should do is Undo, go back to 3B and 3C
| | 08:20 | and unparent them just temporarily, now
go back to 3A, change the anchor point.
| | 08:27 | In this case 969, move them over a bit,
then go to the last frame, moving over the same
| | 08:35 | amount, in 100 frames so that need to be 888.
| | 08:38 | Now while we are at it, there was a little
gap that opened up at the bottom here on Frame
| | 08:46 | 1 where they don't quite touch the bottom.
| | 08:47 | So I think I need to push them down a bit,
so instead of 360, I'm going to make them
| | 08:52 | 365, actually it should be 355
the opposite direction, here we go.
| | 08:58 | An on the last frame I need to
also offset the same amount, 5 pixels.
| | 09:06 | So let's try 343, here we go.
| | 09:11 | Now I've got them in a better position, I
can go back to Frame 1 and turn the parents
| | 09:16 | back on for 3B and 3C, again parented to 3A.
| | 09:19 | So now they are moved together,
but there's a bigger opening here.
| | 09:25 | So, here's the first frame,
here's the last frame.
| | 09:29 | The same relative distance between the girl in the
blue dress and the man with the hat, which is good.
| | 09:35 | All right, so there's a third row, we can now
move forward and start constructing the fourth row.
| | Collapse this transcript |
| Adding lens blur| 00:00 | Our crowd is starting to fill in quite nicely,
however, we still have a couple more rows
| | 00:04 | that we can add in the immediate foreground.
So let me go right to 4A and bring that in.
| | 00:09 | File > Import > File, back to the
Footage Folder and 4A, drop that on top.
| | 00:23 | Now as they organize, what I can do is go
ahead and drag 4A up into its folder or if
| | 00:29 | I had the folder selected in the first place,
it would automatically be imported into that
| | 00:32 | folder, now let's pull that up for now.
| | 00:34 | In any case here is 4A, 4A, they're close up to
the camera that they go from one end to the other.
| | 00:42 | But it's much the same
process as previous green screens.
| | 00:45 | There's a bit of blue tape here, but luckily the
actors are not cross set, and I can adjust that out.
| | 00:52 | So I'll draw a Mask around
these guys, I'll dip down here.
| | 00:58 | Now to make sure I probably should play through
the Footage, and in fact, they don't clap
| | 01:04 | very hardly so that will work in this case.
| | 01:07 | Let me turn off the other layers, I'll turn on
the test background and Rename this new layer 4A.
| | 01:18 | I want to apply keylight.
| | 01:24 | I have some settings we're going to try, so we
can talk about some other issues that might crop up.
| | 01:32 | So, for our Screen Gain, I'm going to make it 110,
Clip Black 26, Clip White 86, and Replace Method, Source.
| | 01:47 | Now, of course, I need to pick my green color,
I left it, it's set to black, so let's go
| | 01:52 | get the green, and there it goes.
| | 01:56 | It looks pretty good; however, if I turn off
the test background and zoom in, you can see
| | 02:03 | there's definitely green trapped in some
parts of the characters' edge, like the hair here.
| | 02:09 | So we can apply another Spill Suppressor
which we have used previously one time.
| | 02:13 | That would be the Effect > Keying > Spill
Suppressor, grab the eyedropper and go find the green,
| | 02:22 | and that pulls it out, looks much better.
| | 02:25 | Now it's looking pretty good; however, there's a
pretty heavy black line on the edge of this guy.
| | 02:33 | Now there's various ways we could try to
address that right within keylight, but I want to
| | 02:36 | show you a new tool we haven't used yet.
| | 02:39 | Under Effect > Matte, there are several tools
you can use to try to erode the Alpha Matte,
| | 02:47 | one is Simple Choker.
| | 02:48 | Simple Choker will erode the Matte by this
many pixels or expand it, it's up to you.
| | 02:57 | So, if I go to a higher value, it
will start to eat into the Matte.
| | 03:00 | If I go up by small value like 1.4, it'll
erode away the Matte and get rid of that black
| | 03:07 | line trapped on this one actor.
| | 03:10 | So, using the Spill Suppressor and Simple Choker
helped improve the keylight, and that looks pretty good.
| | 03:16 | Now we're ready to go ahead and
take care of the Motion Tracking.
| | 03:19 | In this case, I'm going to parent this one
also to 3A and then deal with the anchor point.
| | 03:27 | Now these people are even close to the camera,
so again, we have the issue of not seeing
| | 03:31 | their feet and not seeing any really nearby
track marks, so just as a pretty good approximation,
| | 03:36 | what I can do is compare their position to
those Xs on the floor in terms of the parallax line.
| | 03:43 | So if I make this layer a little
transparent, I can see through.
| | 03:46 | So I'm going to use one this Xs
that are close by as reference.
| | 03:51 | So, for example, if I go to the first frame,
click on Anchor Point to key it, and let's
| | 03:57 | say I'll try a position of 628 and 360, I'm
just going to line this X right here up with
| | 04:09 | the edge of this guy, where his jacket is.
In the last frame, let's try 637, 348.
| | 04:21 | Again, keeping the edge near this X, it's not exact,
but it's close enough to get a good approximation.
| | 04:28 | Now the Y does change, because remember, as
the camera moves, the people dip downwards
| | 04:34 | just because of the angle the camera, so it's
becoming lower between the first frame and the last frame.
| | 04:40 | Okay, I think it looks pretty good.
| | 04:45 | Now one other thing we can do at
this point is add a little camera blur.
| | 04:49 | As we're close to the camera, we can pretend
that the camera has a narrow depth of field,
| | 04:54 | so people really close to camera have a
slight fuzziness because of the camera lens.
| | 04:59 | There's a great effect for that
which is called Camera Lens Blur.
| | 05:05 | So Blur & Sharpen, Camera > Lens Blur.
| | 05:07 | Now this is different from other blurs, like
Fast Blur or Gaussian Blur, because it blurs
| | 05:13 | as if it's a real lens, and what that
means is it creates bokehs, and those are little
| | 05:18 | shapes you get when little
tiny bright dots go out of focus.
| | 05:21 | We get this with a real camera, for instance,
if you shoot picture of a city at night, and
| | 05:26 | it's out of focus, the lights in the
distance becomes circular or like a polygon shape,
| | 05:30 | now this will do that same thing,
so it's a more accurate type of blur.
| | 05:35 | So Camera Lens Blur and for this row I don't
want it to blur too much, right now the Blur
| | 05:41 | Radius is 5 and they are getting pretty soft.
| | 05:43 | I wanted to just start this row with a
little bit of softness, I'm going to set this to
| | 05:48 | 2, if I zoom in, here is before and here is after, so
it's just starting to get a little bit out of focus.
| | 05:57 | I am going to turn on the
other layers, take a look.
| | 06:02 | So we've applied some of the same tools,
one new one, though, is Simple Choker.
| | 06:06 | We've also used a Spill Suppressor for the
second time, and we've also applied a Camera
| | 06:11 | Lens Blur to give us that out of focus look.
| | 06:14 | We're now ready to move
on to our very last row.
| | Collapse this transcript |
| Using Color Range and Matte Choker| 00:00 | We are down to our last row now, and that
last row is composed of two image sequences.
| | 00:04 | I will change things up a bit, I am going
to use a new keyer called Color Range and
| | 00:08 | a new tool to erode the
matte edge called Matte Choker.
| | 00:12 | So let's bring in the
first piece. File > Import > File.
| | 00:19 | The sequence is called 5A, bring that in.
| | 00:24 | Just to stay organized, I am going to put
that in the Crowd folder and then drop it
| | 00:29 | on top of my Composition, there we go, rename it,
and I am going to turn off the other layers
| | 00:40 | except for the test layer.
| | 00:45 | So this is pretty easy piece to Mask, there
is a bit of blue tape here at the top, but
| | 00:49 | these actors don't move around too much.
| | 00:52 | Now, if you don't have the layer selected, you will get a
new shape layer, I don't want that, so I need to undo.
| | 00:59 | Make sure I have 5A selected, then draw the
Mask, going around that blue tape, there we go.
| | 01:09 | So we are going to use Color Range this time.
So Effect > Keying > Color Range.
| | 01:12 | Now this is going to look
different from keylight.
| | 01:16 | At the top is a preview of the matte, we have a
bunch sliders here, and also some eyedroppers.
| | 01:22 | The strength of this tool is using
eyedroppers to build up your matte.
| | 01:26 | Now this tool works in different color
spaces, which you can pick right here.
| | 01:29 | I want to stay with Lab, which is
a luminance space color space.
| | 01:33 | It separates up the
brightness from the color components.
| | 01:36 | So I am going to start with these eyedroppers,
the very top dropper is what you use to select
| | 01:41 | the color you're trying to target.
So I will click here for the green.
| | 01:46 | Now I might not be able to
get all the green all at once.
| | 01:48 | I could try to use this top eyedropper
again, this is going to move what is selected.
| | 01:54 | So the way to add to the green, in this case,
is to use the plus eyedropper, and then go
| | 01:59 | and get the green that was missing.
| | 02:06 | Now the part here at the bottom left is a bit
problematic, I will save that for a little bit later.
| | 02:10 | I will get as much green as I
possibly can, and then look for any holes.
| | 02:15 | If there are any holes that open up, in
the people, I can use the minus to
| | 02:19 | restore the holes and put their
shirts and skin back together.
| | 02:23 | They look actually pretty good.
| | 02:25 | So I will go ahead and tackle this problem
down here, which is different color green.
| | 02:30 | So again, the plus eyedropper,
and that worked pretty well.
| | 02:34 | There's still a little bit noise down here.
| | 02:36 | What I can do, though, since these actors don't
move that much, is just insert some additional
| | 02:42 | points on the mask. Add Vertex, and then shape
that just to cut out that garbage down there.
| | 02:54 | Now if you need to fine tune this tool even
further, you can move all this sliders around.
| | 02:58 | These sliders are driven automatically by
these eyedroppers, but you can change them,
| | 03:03 | you will see a real time update on
the matte and also in the viewer.
| | 03:08 | This looks pretty good, though, so what I can
do is deal with the edge, because this tool
| | 03:13 | leaves a hard edge, not very soft.
So let's try the Matte Choker.
| | 03:19 | Effect > Matte > Matte Choker.
| | 03:23 | This is two chokers built in to
it, the chokers erode the matte.
| | 03:26 | There is Choke 1 and Choke 2.
I am just going to use Choke 1.
| | 03:34 | Choke 1, that slider controls how much is
eroding, so higher value erodes more, so I
| | 03:44 | want to matte this at 127 that cuts
into it and gets rid on that green edge.
| | 03:49 | The Gray Level Softness right below that controls the
softness of the Transition from Opaque to Transparent.
| | 03:55 | So if we go higher on this, it gets softer,
and it expands to out a little bit more.
| | 04:00 | So a value of 51 works well in this case.
| | 04:04 | Okay so that tool has gotten rid of
that white line trapped on the edge.
| | 04:08 | There's still a little bit of green in her
hair, so we can go back to an older tool,
| | 04:13 | the Spill Suppressor to get rid that.
| | 04:16 | So Effect > Keying > Spill Suppressor, I am going
to zoom in here really close get the eyedropper
| | 04:24 | and pick this green, and there it goes.
So that's working for us.
| | 04:30 | So that's the Green Skin Removal.
| | 04:31 | Now let's move on to
dealing with motion tracking.
| | 04:34 | I am going to turn off the red background,
turn on the main background, and turn on 4A.
| | 04:44 | I am going to parent this to 4A.
| | 04:46 | Already you can see, though, that
they are too big and too tall.
| | 04:49 | Te camera is tilted down to shoot them so
that puts them in a strange position, but
| | 04:53 | we can deal with them when it
comes time to animate the anchor point.
| | 04:56 | Let me go ahead and parent these guys 4A
and then I will go look at the Transforms.
| | 05:03 | We could scale them down, but what I like
to do is scale them up and then make them
| | 05:07 | appear like they are even closer to the camera.
| | 05:09 | So I am going to scale them up by 120%, now they are
giants, though, unless I move them down, which we can do.
| | 05:18 | So let's check the first frame.
| | 05:22 | So if we animate the anchor point and try
the values 622, 220, and that moves them down.
| | 05:31 | Now they look like they are
in line with everyone else.
| | 05:33 | So look like they are of correct
size, but just closer to the camera.
| | 05:37 | For last frame we can try 592, 234.
| | 05:46 | So you dip down on Y as timeline moves
left to right, like other layers have done.
| | 05:51 | To determine where they are in X, however,
I am using the same old trick where I would
| | 05:55 | reduce the opacity, make
it so I can see the floor.
| | 06:00 | We can pair their
position to the Xs on the floor.
| | 06:03 | So, for example, on the first frame this center column of
Xs goes right in her center torso, where her neck is.
| | 06:11 | In the last frame they are also
pointing approximately in that position.
| | 06:16 | So you can use this to rough in where they
would be as they move across the screen.
| | 06:21 | Now this is not exact, but it's a good
enough approximation to make it believable.
| | 06:30 | Okay the last thing I want to do on this
set of people is add a blur, because the prior row
| | 06:35 | was blurred a tiny bit, I want to blur this
one also, give it a slightly more intense blur.
| | 06:41 | So Blur & Sharpen > Camera Lens Blur, and this
time I will go to 6, so it is a heavier blur.
| | 06:48 | So that's the first image
sequence for this last row.
| | 06:50 | The other one has a different name.
| | 06:52 | I will go ahead and bring
that one in, it's called Spy.
| | 06:57 | It's in the Footage folder > Spy folder > Spy.
I will pull that down to the top.
| | 07:06 | Now Spy features an actress who steps into
the frame and camera is again tilted down,
| | 07:11 | so she looks very big inside the frame.
| | 07:13 | So here is the last frame, so what I can do
right away is go ahead and Garbage Mask it
| | 07:19 | to let her step in the
frame without being cut out.
| | 07:24 | Then I am just going to steal all the effects
from 5A, this should work pretty well in this case.
| | 07:30 | So Copy these and Paste them on to
Spy and indeed that looks pretty well.
| | 07:36 | I am going to rename Spy while I am thinking of it,
and there we go. Now there is some issues
| | 07:44 | with some green trapped in her cheek, but we
will deal with that in a separate step later on.
| | 07:49 | For now, though, what we can do is work with
her scale and position to make her look like
| | 07:53 | she is stepping in from the left,
but is at the correct height.
| | 07:56 | She is the closest person to the camera. So
to get the overall motion, I will go ahead
| | 08:01 | and parent her to the layer below, which is
5A, and then I will deal with the scale and
| | 08:06 | also the anchor point.
| | 08:07 | For scale, we can go down a little bit, instead
of 83, which you wind up with, once you parent,
| | 08:13 | I am going to go down to 70.
| | 08:18 | And then I definitely need
to move her down to the left.
| | 08:21 | So for the last frame, we wanted to
start there, because she walks in to frame.
| | 08:25 | Let's try 991, -35, that's where she winds up.
| | 08:33 | If she's that close the frame she would
definitely be low and close to the bottom of the frame
| | 08:38 | just because of the perspective.
| | 08:41 | Now for the first frame it is a little bit
more tricky, because she is out of the frame,
| | 08:44 | we can't see her, she is also walking.
| | 08:47 | So I kind of have to eyeball here and try to pick the
value that seems about appropriate for that X offset.
| | 08:53 | I am going to try 1040 for X.
| | 08:56 | Now for Y, I just wanted that change
in Y that the other layers have had.
| | 08:59 | So I am going to try -21 just a slight
change of 12/14 pixels, something like that.
| | 09:05 | Okay, so this is the first frame, she walks in,
let's playback the very end of this, and there we go.
| | 09:19 | So it looks like it is working.
| | 09:21 | So we have assembled the entire crowd, so
I am going to turn on the entire crowd, and
| | 09:25 | there is a scene, much fuller than before.
| | 09:28 | Now there are still a few things to adjust,
for instance, we want to start color grading,
| | 09:32 | and then fine tune some of the positions of the
people, and eventually color grade the entire scene.
| | Collapse this transcript |
|
|
4. Color Grading and RenderingBalancing the saturation and brightness of elements| 00:00 | We've now been to the long process of
assembling our crowd, so the room is quite full.
| | 00:04 | I am going to move on and address
some of the issues, like the color.
| | 00:08 | We can color grade the crowd for aesthetic
reasons and also to make everything match much better.
| | 00:14 | Now, one thing that would be great would be
to center the focus on the podium, and more
| | 00:19 | on the top left of the frame.
| | 00:21 | We're going to eventually pretend that there is a
window on the left, and make this area brighter.
| | 00:27 | So, what we'd want to do is darken any part
of the crowd that's more on the right in the
| | 00:32 | foreground let those fade
into the background a bit.
| | 00:36 | Before I start applying effects, however,
I want to pre-compose some more.
| | 00:40 | We have a long list of crowd layers here.
| | 00:42 | What I can do is do two more pre-compositions
to simplify this, and thereby be able to apply
| | 00:48 | effects on the pre-compositions as
opposed to the individual crowd image sequences.
| | 00:53 | So, I am going to grab 2A through 2CTape just
Shift-click those, and then go to layer > Pre-compose.
| | 01:02 | I will rename this in the tradition of the
other pre-composition, 2Ato2CpreComp, click OK.
| | 01:13 | And that's created.
| | 01:15 | Now, the rest of the layers I'll have to do
in a single pre-composition because they are
| | 01:19 | all interdependent in terms of the parenting.
You don't want to split up the parenting.
| | 01:24 | The way I just did, it's self contained.
| | 01:26 | They are all basically parented to
the lowest layer of the second row.
| | 01:31 | Now, the third layer has control over not
only the third row, but also the fourth row,
| | 01:37 | and the fifth row, and so on.
| | 01:38 | So, I have to pick all these at the very top,
3A to Spy, and pre-compose those as one piece.
| | 01:45 | Pre-compose, pick a name for that, and click OK.
| | 01:52 | Now, what's great about the pre-composition
is that aside from organizational simplicity,
| | 01:57 | it allows me to apply effects to
the pre-composition as a single unit.
| | 02:02 | So, I can start color-grading right now.
| | 02:05 | Now again, one problem is the fact that I can see
the crowd too easily as compared to the background.
| | 02:12 | One part of the problem is the saturation.
| | 02:14 | So, I am going to reduce the
saturation on all these layers here.
| | 02:17 | So, I'll pick the lowest one, 1A.
Go to Effects, and choose Hue/Saturation.
| | 02:24 | I will reduce Saturation to -40
to pull out some of that color.
| | 02:30 | I can copy this effect now.
| | 02:33 | Just Ctrl, or Command+C and paste it up to the next
one, 2A, and then to the third one, paste it again.
| | 02:41 | You can see the Saturation has gone
lower, particularly on this red shirt here.
| | 02:47 | Next thing that would be great to do is darken the
crowd that's more towards the right in the foreground.
| | 02:51 | Now, I do have to go back into my pre-compositions for
this, and deal with this one image sequence at a time.
| | 02:57 | But I can cut and paste, or copy
and paste the effects to save time.
| | 03:00 | So, let's go onto the first one,
1A, open it up by double-clicking.
| | 03:04 | Figure out which group is
on the right which is 1A.
| | 03:09 | I am going to apply a Curves to
that and darken that group down.
| | 03:16 | Now, my middle group here, I probably want
to darken down by a little bit, but not as
| | 03:23 | much as the right group. So, that's 1B.
| | 03:26 | All I can do, though, is just copy my curves
from 1A, copy, and paste on the 1B, paste.
| | 03:34 | But then, adjust the curves that are not
quite as dark just a little bit darker.
| | 03:39 | So, I transition from light to dark.
| | 03:42 | Now, I can go to my second pre-composition, the 2A
set, and deal with the people on the right again.
| | 03:50 | In this case, that would be the 2CBody group.
| | 03:55 | Paste again to paste my
effect, adjust that if need be.
| | 04:00 | Then go to this middle group, 2B, paste again.
| | 04:05 | And maybe make that a little bit
brighter, not as dark as the right group.
| | 04:10 | Now, there is an issue with the right group
because remember, the right group is broken
| | 04:14 | up into 2CBody, and 2CTape.
| | 04:17 | Whatever is on 2C body, I want to copy and
make sure it's on 2C tape, because they like
| | 04:23 | to go like a puzzle, and I
want to make sure they match.
| | 04:25 | So, I am going to copy this
one up, and paste that to 2CTape.
| | 04:30 | Okay, so this row has been changed in
terms of the brightness from left to right.
| | 04:35 | I will go back to the 3A one.
| | 04:38 | Now, 3A has a little bit more of an issue
because 3A through 3C has three separate image
| | 04:46 | sequences; however, 4A, and 5A,
and so on, those are single rows.
| | 04:50 | But let's start with 3C,
which is on the right here.
| | 04:53 | I will paste again, darken those guys down,
go to 3B in the center, paste again, make
| | 05:02 | them a little bit darker, but not so dark.
| | 05:06 | Then I will go to 4A, 4A, I think I want to darken
down just so they aren't so obvious in the foreground.
| | 05:15 | But I will have to adjust that curve,
so a little bit darker but not too dark.
| | 05:22 | Go ahead and copy this
Curves, and paste it to 5A.
| | 05:26 | And again, if I need to adjust that.
I can now move on to the Spy layer.
| | 05:35 | I don't want to darken the Spy layer.
| | 05:36 | I'd rather brighten that
layer, so she is more visible.
| | 05:39 | You can pretend that she is an important
character, and we want to highlight her as she walks in.
| | 05:43 | While I am it, I should try to deal
with the green that's trapping her cheek.
| | 05:48 | I am going turn on the solo for her layer so I can
see it better and solo is this little circle here.
| | 05:54 | See there's green right there.
| | 05:55 | So, I am going to apply a Color
correction > Color Balance, and then a Curves.
| | 06:04 | Now, you can move the sliders around to get
rid of the green, write some values here to
| | 06:11 | save a little bit of time.
| | 06:13 | So, let's try -20 in the red shadow, -40 in
the green shadow, -25 in the red highlight
| | 06:25 | and -40 in the blue highlight. It takes the green out.
Now, she becomes very saturated because of this.
| | 06:34 | So, before I get to the Curves, I
probably really need to add a Hue/Saturation.
| | 06:41 | And anytime you want to re-order the effects,
you can do that here in the Effects Tab.
| | 06:47 | I am going to minimize these,
so I can see him better.
| | 06:50 | But what I can do is pull an effect
up and place at a different position.
| | 06:56 | In fact, I probably want
the Blur at the very end.
| | 06:58 | So now, I have Color Balance and Hue/Saturation.
| | 07:00 | I am going to reduce the
Saturation by a lot, -70.
| | 07:05 | It looks a little bit better now.
| | 07:10 | Then for the Curves, I do want her to
be brighter, so we can see her better.
| | 07:13 | So, I am just going to sneak the curves up,
like that, and then turn off the Solo.
| | 07:18 | So now, it would be a little easier to see here.
Now, go back to the AddCrowd.
| | 07:22 | There is a result of our color-balancing.
| | 07:25 | So we've used a very simple set of effects,
Curves, Color-Balance to help change the overall
| | 07:33 | lighting, and allow us to see the upper left
better while allowing the crowd at the right
| | 07:39 | and at the front to fade away.
| | 07:40 | Now, there is one last thing I
probably want to do at this point.
| | 07:44 | Sometimes we can see
through the crowd to the ground.
| | 07:47 | Also, we can see the
floor at the very beginning.
| | 07:52 | It's way too bright.
There should be a shadow there.
| | 07:54 | We don't really have a shadow for the crowd.
| | 07:56 | So what I can do is copy up the lowest layer,
Edit > Duplicate, draw a big circular mask over
| | 08:03 | this new copy, roughly where a big group
shadow might be, increase the Feather, so it has
| | 08:13 | a nice soft edge to 200.
| | 08:20 | Then apply one more Curves to
this, and darken it way down.
| | 08:29 | I am going to lower the mask
a little bit at the bottom.
| | 08:36 | You can see here that's nice
and dark like a group shadow.
| | 08:38 | Also, that will fill in any holes in the center.
| | 08:41 | Okay, so now the crowd is color-balanced,
we can move on to balancing out the entire
| | 08:47 | scene and applying some relighting.
| | Collapse this transcript |
| Changing clothing and hair color| 00:00 | We have color graded the crowd using
the effects like Curves and Color Balance.
| | 00:04 | Another thing we could do along the lines
of color grading is change the crowd so it
| | 00:09 | looks a little bit more random.
| | 00:10 | After all we've used the same three or four
actors or five actors over and over and over again.
| | 00:16 | So it's possible that people might
notice some of the repeating patterns.
| | 00:20 | For example, there is a tall man right here
in the red shirts, and that red shirt is also
| | 00:25 | right here on the same man.
That might pop out.
| | 00:28 | So what we can do is apply color grading to
very small areas like the top of the shirt.
| | 00:34 | So how do we do that?
Let's figure out where that shirt is first.
| | 00:39 | So if that's on 3A layer, which it
is, I can go into that preComposition.
| | 00:44 | Figure out which one that person belongs
to, and it looks like 3B. No, I am sorry.
| | 00:52 | Let's try 4A.
I am going to isolate 4A with the solo button.
| | 00:58 | Then what we can do is duplicate that layer,
isolate that color, and then change the color.
| | 01:05 | So with 4A selected I'll
go up to Edit > Duplicate.
| | 01:11 | Now because I duplicated it,
the solo is on for that also.
| | 01:13 | I am going to rename this right away
before I forget 4AShirt. How about that?
| | 01:17 | Now there is a mask on here already.
| | 01:20 | If I can get rid of that old mask just delete
it, and draw a new mask that just covers that
| | 01:26 | color with a Pen tool. There we go.
| | 01:32 | Now I want to spend time
shaping the mask to make sure it fits.
| | 01:36 | However, it's such a small piece
that I don't have to be too precise.
| | 01:41 | This should probably be good.
| | 01:43 | Now in order to change the color I simply
have to grab some kind of a color tool, for
| | 01:47 | example, Hue/Saturation.
| | 01:50 | I can spin the Master Hue until I
get a color that looks kind a nice.
| | 01:56 | How about some green?
| | 01:57 | I am going to hide the mask for a
second and see what it looks like.
| | 02:01 | It looks like I still see some red here so I
can play around with the Feather and Expansion
| | 02:07 | to try to make it look
like it's in a good position.
| | 02:11 | Feather of 1 and
Expansion of 2 looks pretty well.
| | 02:15 | Let's try Expansion of 3. How is that?
It looks good.
| | 02:20 | So that's as simple as it
is in terms of a small piece.
| | 02:23 | Just grab a color effect and
change the color with a mask.
| | 02:27 | Now this person is moving.
| | 02:28 | So I have to animate this mask over time
so I am going to click the mask path shape.
| | 02:35 | That was the first frame.
| | 02:36 | Then I will just place some more
keyframes to make sure it follows.
| | 02:40 | Turn the mask view back on and then address
the mask here by moving the entire mask around
| | 02:46 | or by moving the individual points.
Now this motion is not particularly great.
| | 02:55 | So what I can do bisect, go in-between,
reposition the mask, go in-between once again, and continue
| | 03:04 | to do that until I have the keys all way across
enough to make sure that this is going to follow.
| | 03:11 | Now I am doing this rapidly here.
| | 03:13 | So you probably want to
spend a little more time at this.
| | 03:15 | But we will get a good enough for now.
| | 03:26 | Then of course, we need to play
it back to make sure it's working.
| | 03:28 | Let's say that, that's good.
| | 03:30 | Now I can turn off the solo and
in there I have changed this color.
| | 03:37 | If I go back to the AddCrowd composition,
you can tell that those are not the same shirt.
| | 03:42 | Now there is also issue with the hair.
| | 03:44 | We have a number of actors here, but the one
that's most seen is actually wearing that shirt.
| | 03:48 | He has these salt and pepper gray
and dark hair and he is also very tall.
| | 03:54 | So he pops up at different places.
| | 03:56 | In fact, he is standing beside
himself right here and right here.
| | 03:59 | So another thing we can do is use a
similar technique to change hair color.
| | 04:03 | Let's just do it on the
same layer where the shirt was.
| | 04:06 | Let me go back to that 3A
preComposition and here is 4A.
| | 04:13 | I can copy a 4A once again.
| | 04:15 | I am going to call this 4AHair, get rid of
that old mask, and this time draw a mask that
| | 04:29 | goes around his hair.
| | 04:31 | Now if he is close to camera, you probably
want to spend a little bit more time making
| | 04:35 | sure the mask fits.
| | 04:36 | If he is far way you can be
a little bit less precise.
| | 04:40 | But basically like that.
| | 04:41 | Surround the hair and then you can
apply a color effects to change the color.
| | 04:45 | Again, you can go
Hue/Saturation to give that a try.
| | 04:49 | I could spin the color wheel to say insert some
brown, mess around with the saturation, the lightness.
| | 04:59 | If that doesn't quite go far enough, I can even
grab curves and just darken it down completely.
| | 05:05 | Let's say it's pretty good, though.
Now I do want to check the mask edge.
| | 05:12 | It's a bit hard right now.
| | 05:13 | So I can experiment with
the Feather and the Expansion.
| | 05:20 | Way to much expansion. Something like that.
| | 05:28 | Now you might want to check to see in
the real background to see how it looks.
| | 05:31 | But now they look they
have different color of hair.
| | 05:34 | I do have to animate this over time.
Some of the people will be easier than others.
| | 05:39 | It's just because of the
amount they move around.
| | 05:42 | So I'll key to the mask path, make sure I can
see the mask, address that and add more keyframes.
| | 05:49 | And if not moving around too much I would
once again bisect first, last, middle until
| | 05:56 | I feel like I have the motion covered.
Well, let's just do a few frames for now.
| | 06:02 | I will let you finish the
rest. Back to AddCrowd.
| | 06:08 | So those are two examples,
the shirt color and also hair.
| | 06:13 | I could continue with this.
| | 06:14 | In fact, I probably will with the final version to
change a few more of these tall salt and pepper hair areas.
| | 06:22 | Maybe two or three of these
to get some more variation.
| | 06:25 | There are many other areas in
which you can apply this technique.
| | 06:27 | We can look for other people look too
similar and say change their hair color or look for
| | 06:33 | other pieces of clothing that are too
similar and change the coloring color.
| | 06:37 | I would do some more instances here, but I
will leave it up to you what you think is
| | 06:40 | necessary to make an interesting diverse crowd.
| | 06:42 | So now we've thoroughly color corrected our
crowd we are ready to move on and color correct
| | 06:48 | the entire scene, which
basically allow us to relight.
| | Collapse this transcript |
| Relighting in the composition| 00:00 | We spent some time color grading the crowd,
both individual groups of people, and also
| | 00:04 | certain areas like clothing and hair.
We can now move on to the entire scene.
| | 00:09 | If we color grade the entire
scene, we can even relight,
| | 00:13 | in other words, change the
color of the light in certain areas.
| | 00:16 | For example, in this scene if I want to
really make it look like there is sunlight coming
| | 00:20 | from the left side, I can create the illusion
of sunbeams coming in from and external area.
| | 00:26 | To make that pop out even more, I can darken
the right side and the lower side and even
| | 00:31 | tint that an opposite color like blue.
| | 00:34 | So how do we do that?
We can take this composition and nest it.
| | 00:38 | If we nest it more than one time, say twice, we can
have each nested layer take on a different color.
| | 00:45 | For instance, one layer will be the warmer
color and one layer will be the bluer color.
| | 00:49 | So let's give that a try.
Composition > New Composition.
| | 00:54 | Call this Color Grade, click
OK, and go out of that window.
| | 00:59 | I'll nest AddCrowd into this twice.
| | 01:02 | The lower layer will become the warmer
layer for the sunlight, and the upper layer will
| | 01:07 | become the cooler, more neutral layer for the
darker area of the screen like the right and the bottom.
| | 01:14 | So how do we create this effect?
| | 01:15 | Well, I want both colors
to be in the final version.
| | 01:18 | So what I can do is create a mask or several
masks that are in the shape of sunbeams.
| | 01:23 | We will do that on the top layer.
| | 01:25 | I will grab my Pen tool and draw the first
one, and yours does not have to be exactly
| | 01:32 | like mine, but something like this.
| | 01:35 | A sun beam that comes in towards
the podium bounces off the crowd.
| | 01:40 | May start to appear at the upper left.
| | 01:42 | Maybe it passes a little bit over this
banner, or maybe it just goes behind it.
| | 01:48 | That's the first one.
| | 01:50 | I want to turn off the lower
layer so I can see what's going on now.
| | 01:54 | Now because the mask is closed,
it cuts out everything else.
| | 01:57 | So temporarily, I am going to turn the Add
menu to None to disable what it's doing.
| | 02:02 | Now I can draw the next mask or another beam
that comes in somewhere close by like this.
| | 02:10 | Again, turn that one to None, and then a
third beam which would be more of the foreground
| | 02:16 | left, right where the spy
would walk into the frame.
| | 02:20 | You can spend some time adjusting these.
I'll just do it roughly right now.
| | 02:24 | I am going to turn these
all back on the Add now.
| | 02:29 | It's doing opposite of what I want.
| | 02:30 | I'd like the top layer to be blue and the
bottom layer to be more of the warm color.
| | 02:34 | So I am going to invert these masks.
| | 02:37 | For the first mask I can click the
Inverted button, and that does what I expect.
| | 02:41 | It cuts a hole there.
| | 02:43 | Then the other two, I can
change those to Subtract.
| | 02:47 | That's a very hard edge on the mask.
So I am going to need to feather those.
| | 02:50 | So a value of 150 works well.
| | 02:52 | Now one trick for changing this all at once
is to Shift-select them and then expand them
| | 02:57 | all at once, and if they are all selected,
feathers will all update simultaneously.
| | 03:02 | So I'll hide the mask for a second, and you
can see the soft cut-in area with this layer.
| | 03:09 | Now I can go ahead and change
this layer to more of a bluish color.
| | 03:11 | So I am going to apply some effects.
I am going to Color Balance, then Curves.
| | 03:17 | So with Color Balance, I am going to
experiment and get an interesting blue color.
| | 03:23 | I had some values here to save time.
| | 03:26 | For Shadow Red -25, for Shadow Blue 60,
for Midtone Red 25, and for Midtone Blue 65.
| | 03:39 | Now it's very intense, but once we
combine the lower level it won't be so crazy.
| | 03:44 | For the curves, I just want
to darken down this area.
| | 03:47 | I am going to pull the curve
down and make it more shadowy.
| | 03:51 | Then I will turn on my lower level.
| | 03:53 | Now you start to see the lower
layer starts to show through there.
| | 03:58 | I want that one to be more warmish.
| | 04:00 | So I can go down there and apply some
effects to that. Color balance and Curves.
| | 04:07 | So with Color Balance I want to just
increase the red to make it warmer.
| | 04:10 | So I am going to go straight to
Highlight Red and change that to 40.
| | 04:15 | But the Curves, I want to make it a bit brighter.
| | 04:18 | I don't want to blow out the
white or make them too overexposed.
| | 04:20 | So I am going to lower the top of the curve down
and put a little S in it to keep some contrast.
| | 04:26 | At this point the blue is really taking over.
It's much too intense.
| | 04:31 | So I can go back up to the top
layer and reduce the Opacity.
| | 04:34 | Let's try a 65, and that fades it out.
| | 04:39 | So we have a nice combination of
blue and more warmish color right now.
| | 04:44 | The warmish color is
collecting in very feathery sun beams.
| | 04:49 | Now I'll make it look like there's a glow, because the
light is so bright it's kind of bouncing around the camera.
| | 04:53 | So let's give that a try.
| | 04:55 | The lower layer I'll apply a Glow, Stylize > Glow.
You can see it comes in really strong, though.
| | 05:03 | So let's adjust that.
Let's try a higher threshold.
| | 05:08 | A larger radius like 57 and
a lower intensity, maybe 0.2.
| | 05:14 | It's subtle, but here is the
glow on and here is it off.
| | 05:20 | One place you see it is the banners, on and off.
So essentially we have relit it.
| | 05:27 | There is one last step to take,
and that's to animate the masks.
| | 05:32 | Since the camera moves, we probably
want to move these beams also.
| | 05:35 | So what I can do is just leave them expanded, select
all these masks, turn on the mask half for each one.
| | 05:44 | Queue the current position and show them
again, and go to the last frame, and move them
| | 05:49 | a little bit just so they keep up.
| | 05:51 | It doesn't take much. There we go.
I will turn those off so we will see them.
| | 05:59 | Now you can continue to
play with the mask shape.
| | 06:01 | For instance, we can try to get the spy to show
up even better, but that's the general idea.
| | 06:05 | So our scene is complete.
| | 06:07 | We can now do the final fine tuning, bring
in some audio just for fun, and render it out.
| | Collapse this transcript |
| Finalizing the composite| 00:00 | When you come to the end of a project, it's a
good idea to take one more look at everything
| | 00:04 | you've done to make sure you have the
quality that's going to make you happy.
| | 00:08 | Now in terms of what I did, I reexamined
the green screen, made some adjustments, took
| | 00:12 | a look at the motion tracking, updated
the anchor points, adjusted some of the color
| | 00:17 | grading through adjusting the
curves effects or hue/saturation effects.
| | 00:21 | I also went in further and changed some more
of the hair color, so originally we did this
| | 00:26 | guy's head, but I also adjusted this head
here, and this guy way in the foreground.
| | 00:33 | That just required additional layers, additional rotoscoping,
and additional adjustment of the Hue/Saturation tool.
| | 00:39 | In terms of the ground color grading, we
originally had that big shadow on the ground.
| | 00:43 | If we go back to AddCrowd, we can see that
the big ground shadow is called DarkerFloor
| | 00:49 | right now, where we masked that
big section and darkened it down.
| | 00:53 | However, I made one additional copy
of the lowest layer and darkened that.
| | 00:57 | I made the mask much smaller, and the
reason for that is without that at the beginning,
| | 01:03 | it looks like this man
right here is kind of floating.
| | 01:05 | There's no good contact shadow there.
| | 01:08 | So I copied up that lowest layer, darkened it
with a smaller mask to give a sense of a cast shadow.
| | 01:14 | Now aside from all of that, there is
also just of course the set of choices.
| | 01:18 | In going back to the fact that you should
examine the motion tracking. It just so happened
| | 01:23 | this man in the red shirt here appeared
way too tall in some of the earlier versions.
| | 01:28 | Basically, that green screen plate I left
too high, the anchor points aiming in such
| | 01:32 | a way that they were standing too tall,
like they were on top of boxes or something.
| | 01:36 | So I want to make sure
that the crowd is consistent.
| | 01:38 | They all seem to be at the same level.
I'll show you how you might approach it.
| | 01:43 | If I go to the 2ApreComposition, there's that man.
| | 01:48 | And initially, I just left this
plate just too high up in the air.
| | 01:53 | So what you can do is offset the anchor point.
I don't want to destroy the animation.
| | 01:58 | I don't want to change the motion tracking, but I can
change the anchor point in a more controlled fashion.
| | 02:03 | Let's say that on frame 1,
they're at 564 on the Y.
| | 02:07 | But I really want it to be 554.
That moves them down a little bit.
| | 02:13 | So that's 10 pixels.
| | 02:14 | So I can remember that 10 offset, then go to
last frame and offset that by the exact same
| | 02:20 | amount, which is currently 562.
| | 02:23 | So I'll change it by the same exact amount
which is 10 pixels so that should become 552.
| | 02:30 | So a 10-pixel difference at the end and 10-pixel
difference at the beginning, that way it's
| | 02:35 | consistent, that way you are
not ruining the motion tracking.
| | 02:38 | Now this is a little bit more difficult here
because this man has this color graded hair
| | 02:43 | on a separate layer, so I'd either have to
move both of those layers at the same time
| | 02:47 | by selecting them, or just
remember to go back and address the hair.
| | 02:53 | Now one problem with this is if there's any
other layers parented, because when I move
| | 02:58 | this layer, aside from his hair are falling behind,
all the other people move also in that particular row.
| | 03:05 | So you have to be aware of that.
I'm going to back up for now.
| | 03:09 | If you do offset the first one which is
serving as the parent, you would have to go in and
| | 03:13 | also check the other ones,
2B and 2C in this situation.
| | 03:18 | And if necessary, also offset their anchor
points to get them up at that good level.
| | 03:22 | But once you fine tune all the things I
just mentioned, you're ready to render it out.
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| Adding audio and rendering| 00:00 | We have everything fine tuned for this
composition, so now we are ready to render out.
| | 00:04 | Before we do that, though, I am going to show you
one extra trick, and that's to bring in some audio.
| | 00:09 | I have a piece of audio that matches the
speaker, what he says up here at the podium.
| | 00:14 | Now this doesn't have other sound effects
like applause or the crowd noises, but this
| | 00:18 | was to show you how you might do it.
| | 00:20 | So I am going to File > Import >
File and grab the audio.
| | 00:26 | Inside the Footage folder there is Audio folder, and then
there is a AIF audio file, just select that, open it, it imports.
| | 00:36 | I can drag that to the bottom
of the ColorGrade composition.
| | 00:40 | Now since this is audio, there is no little
Eye icon, however, there is a Speaker icon.
| | 00:45 | If I expand the audio layer, it says Audio, and
if I expand it again, there will be a Waveform,
| | 00:52 | and one more time we can
actually see the waveform there.
| | 00:54 | Now you cannot listen to
this unless you RAM Preview.
| | 00:58 | Once you RAM Preview, and it starts
playing real-time, then you will hear the audio.
| | 01:03 | We are now ready to render it out.
| | 01:04 | So in order to render this out, I'm
going to add it to the Render Queue.
| | 01:07 | So with this composition selected, which is
ColorGrade, I can go up to Composition > Add to Render Queue.
| | 01:16 | This will switch this over to the Render Queue tab,
and that particular composition listed as a new render.
| | 01:23 | Two things to check here,
one is the Output Module.
| | 01:26 | If I click the word Lossless, this
brings up the Output Settings window.
| | 01:31 | There are different formats you can render to.
| | 01:34 | Now they loosely fall into two categories,
there are movies like AVI or QuickTime, and
| | 01:40 | then there are image sequences.
| | 01:42 | Now for just testing or to show
other people, you often just use a movie.
| | 01:47 | Now for a movie I like to use QuickTime.
| | 01:49 | Occasionally at the render image sequence,
and you will see everything with the word
| | 01:53 | sequence will be one of those
options, but for now QuickTime is good.
| | 01:57 | Now if you do pick a movie, you do need to
pay attention to the Format options right here.
| | 02:02 | If you click that, you get all the
options for that particular format.
| | 02:05 | It actually defaults to Animation.
| | 02:07 | That's not a particular good style of
compression for something like this, visual effects.
| | 02:12 | What would be good is say MPEG-4,
other good ones might be H.264.
| | 02:17 | For now let's choose MPEG-4, that's high-
quality that will play in real-time and click OK.
| | 02:24 | Then you could choose if
you want to render out audio.
| | 02:27 | Since we do have audio in this composition, I am going
to click on the Audio Output button at the very bottom.
| | 02:33 | Some other options for fine tuning, for instance,
mono or stereo. In this case, the default is
| | 02:39 | going to work well. I'll click OK now.
So now the Output Module is set.
| | 02:43 | The second thing you do is go to Output To and
choose where you want to write this, and name the file.
| | 02:49 | So we go to my Desktop.
| | 02:51 | I can pick a test file name, like Test.mov,
and I can just hit the Save button.
| | 02:58 | Now this is set, now there are other options
under Render Settings, if you click the Best
| | 03:03 | Settings you can get that, but
the default for these are good.
| | 03:07 | For instance, you can change the Frame Rate,
though, change the Duration, and the Quality,
| | 03:11 | but we want the best quality, we want the
full duration, and we want the current frame
| | 03:14 | rate, so we don't have to change
anything here right now. I'll click OK.
| | 03:18 | Once all these things are set,
you can go ahead and hit Render.
| | 03:24 | Once this is done, that yellow bar disappears.
| | 03:26 | Now mine went faster than yours might, if
you are just rendering from scratch, and you
| | 03:30 | haven't RAM preview, that
probably take a little bit longer.
| | 03:32 | Once it's done, you can go
ahead and take a look at the file.
| | 03:35 | Now just as a test, I am going to go back up to
File > Import > File and go retrieve that QuickTime
| | 03:40 | movie and take a look at it.
Here is my test movie.
| | 03:45 | I will double-click it, look at it,
that's footage, and there it is.
| | 03:48 | And if you chose the audio, if you play it
back as a QuickTime say from the desktop,
| | 03:52 | you'll hear that audio.
There we go, a finished project.
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| Looking at the final scene| 00:00 | Now let's take a look at our finished shot.
| | 00:03 | (male speaker: And you can be proud of the
contributions you've made in engineering,
| | 00:06 | developing, and manufacturing the Zero Loss system!)
| | 00:09 | It's looking pretty good.
| | 00:11 | We've successfully filled the empty room with a
large crowd by creating compositions in After Effects.
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ConclusionNext steps| 00:00 | We've reached the end of the course.
| | 00:02 | We've successfully filled the empty room with a
large crowd by creating compositions in After Effects.
| | 00:08 | The techniques we've discussed can be
applied to a wide range of visual effects work.
| | 00:11 | If you're interested in learning more about
these topics, please visit the lynda.com site.
| | 00:16 | In particular, take a look at
After Effects Essential Training,
| | 00:21 | After Effects Apprentice 12: Tracking and Keying,
and Maya Rendering for After Effects Composites.
| | 00:29 | Thank you for joining me on this course.
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