Introduction| Welcome | Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or if
| | 00:04 | you're watching this tutorial on a DVD,
you have access to the exercise files used
| | 00:09 | throughout this title.
| | 00:11 | So if you've just finished unzipping
the exercise files, you'll have the
| | 00:14 | Exercise Files folder.
| | 00:16 | And for this course, there
are three folders inside.
| | 00:19 | Avid MediaFiles, Files for
Import, and Lynda Space Project.
| | 00:24 | Now the first thing you need to do is
place your Avid MediaFiles folder, which
| | 00:28 | is the raw media for this project, on
the root directory of your media drive.
| | 00:34 | Now root directory just simply means that
you don't have it inside any other folders.
| | 00:38 | It's at the topmost level.
| | 00:40 | So here I have my media drive and I
already have a folder there called Backup.
| | 00:45 | So I'm just going to place my Avid
MediaFiles folder right alongside this folder here.
| | 00:53 | Also you need to make sure
to never rename this folder.
| | 00:56 | So never move it and never rename it.
| | 00:59 | It has to be called Avid MediaFiles,
with a space in between, a capital A,
| | 01:03 | capital M, capital F, and no
space in between MediaFiles.
| | 01:07 | So don't touch it, don't move it,
don't rename, and you're good to go.
| | 01:11 | Now if you have some other Avid
projects on your system and you already have an
| | 01:15 | Avid MediaFiles folder we
have a solution for you.
| | 01:19 | Here is a drive and it already has an
Avid MediaFiles folder, and the structure
| | 01:24 | inside of here is there's always a
folder called MXF, and there's always a
| | 01:29 | folder, and it's usually called
1, but it can be any number.
| | 01:33 | So inside the MXF folder on the
exercise files, what I've provided for you is
| | 01:39 | a folder called 102.
| | 01:41 | So it's a different number.
| | 01:42 | You can just go ahead and place it
right alongside whatever number is already
| | 01:46 | there, most likely it'll be called 1.
| | 01:49 | Great, so those are your two scenarios.
| | 01:51 | You either just place the entire Avid
MediaFiles folder on the root directory of
| | 01:55 | your media drive, or you just place the
102 folder inside the MXF folder which
| | 02:01 | is inside the Avid MediaFiles folder.
| | 02:03 | So, kind of a strict folder hierarchy
with your files there, but the good thing
| | 02:08 | is, is that you can literally have all
of your media together whenever you go
| | 02:12 | from system to system, and
everything should stay online.
| | 02:15 | Now also inside of the Exercise Files
folder, is a Files for Import folder.
| | 02:21 | And you're going to be working
with this throughout the course.
| | 02:23 | So you have some mattes and composites
that you're going to be bringing in.
| | 02:28 | We have an After Effects project.
| | 02:29 | We do mention After Effects in just
one movie in this course, so if you have
| | 02:33 | After Effects you can
follow along with that one.
| | 02:36 | And we have a few Photoshop
files with a spaceship logo.
| | 02:41 | So, a lot of this stuff you'll
be using throughout the course.
| | 02:43 | I will mention it at the time.
| | 02:45 | I'll say go in and import this file.
| | 02:48 | So it's all in this one
folder, Files for Import.
| | 02:51 | And then we have Lynda Space Project.
| | 02:54 | This is your Avid project.
| | 02:55 | So we have a lot of files inside of
here but, you don't really have to worry
| | 02:59 | about these at the operating system level.
| | 03:01 | We'll see all of this stuff
when we open up our project.
| | 03:04 | Now keep in mind I am on a Mac right now.
| | 03:06 | But everything I just said holds
true if you're using a PC as well.
| | 03:10 | So you need to put the Avid
MediaFiles folder at the root directory of your
| | 03:15 | media drive, whether you're on a Mac or a PC.
| | 03:18 | Let's go ahead and open Avid Media
Composer and take a look inside.
| | 03:22 | Okay, we're at the Select Project dialog box.
| | 03:25 | You won't see any projects right away,
because we have to navigate to it.
| | 03:29 | Now I just left mine in the Exercise
Files folder which I left on my desktop, so
| | 03:33 | I've got to navigate to that by
pressing this button right here.
| | 03:36 | I'm going to go ahead and click on it.
| | 03:38 | And navigate to my Desktop > Exercise Files,
| | 03:43 | and it's called Lynda Space Project.
| | 03:45 | Don't go any deeper than that.
| | 03:47 | I'm going to click on Lynda
Space Project and click Open.
| | 03:50 | And the project opens.
| | 03:53 | And we have here some
sequences and some source material.
| | 03:57 | A lot of this stuff are the assets
for the course and you won't really deal
| | 04:01 | with these two too much, because we're going
be working primarily in the Chapter folders.
| | 04:05 | So just twirl down the disclosure
triangle, and on the first movie, Chapter 1,
| | 04:12 | movie 1, just go ahead
and double click on this bin.
| | 04:15 | So the sequence that you should be working
with will have an overlay title on each movie.
| | 04:20 | So just read that and then go
ahead and double-click on the sequence.
| | 04:26 | And it's ready to go.
| | 04:28 | And you have all of your media online.
| | 04:30 | And that's because you put your Avid
MediaFiles folder in the right location.
| | 04:34 | Okay, so that's all there is to it.
| | 04:36 | Just follow along bin by bin.
| | 04:38 | When you're done with a chapter you
can twirl up the disclosure triangle and
| | 04:41 | head on into the next chapter.
| | 04:43 | Everything is laid out perfectly for you.
| | 04:47 | Now if you're not a Premium
subscriber to lynda.com, you don't have access
| | 04:51 | to the exercise files,
| | 04:52 | but you can follow along from
scratch with your own assets.
| | 04:55 | Now let's get started!
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1. Introduction to Compositing and Intraframe EffectsUnderstanding compositing| 00:00 | In this course, we're going to
explore the world of compositing.
| | 00:04 | Compositing is the creative process of
combining various image layers to form a cohesive scene.
| | 00:09 | Let's take a look at what I mean.
| | 00:11 | I have a sequence here, and
I want to play it for you.
| | 00:13 | And I want you to take a look at all of
the elements that are working together
| | 00:16 | to make this scene whole.
| | 00:20 | (video playing)
| | 00:44 | Okay, so we have some text, we have video.
| | 00:49 | We have these planets and stars, and
an actor, we have lots and lots of
| | 00:54 | different things, combined together to
really put together this promo piece.
| | 00:59 | And you can see that
there's only two video tracks.
| | 01:01 | And you might wonder how
it all got put together.
| | 01:04 | Well I want to show you this sequence,
and you'll get a little bit of a better idea.
| | 01:10 | We have here 9 video tracks
and 10 audio tracks that are all
| | 01:16 | basically layered to form the
parts of this whole, okay?
| | 01:22 | And so you can get a better idea of how
this is all working together, I'm going
| | 01:26 | to show you the source
material bins where it all came from.
| | 01:29 | I'm going to just twirl down my Source
Material folder, and open up these bins here.
| | 01:38 | And I'll right-click and choose
Open Selected Bins In One Window.
| | 01:42 | And I just want to show you a couple.
| | 01:44 | This is all the audio that we use.
| | 01:46 | This course is going to be focusing on videos,
so we'll go ahead and look at some of that.
| | 01:51 | We've got some green screen here,
so you remember that. We had the actor
| | 01:57 | looking out the window, like right here.
| | 01:59 | So this is one part.
| | 02:01 | And you can see that we have
lots and lots of tracks here.
| | 02:04 | All of these layers to form the outside of
the ship, and the reflection on the window,
| | 02:09 | the actor of course, the background behind him.
| | 02:11 | So all of the things here are
working together to form that little scene.
| | 02:16 | And we have the other side of the spaceship,
and that equals the scene right here.
| | 02:24 | And let's take a look at our matte keys.
| | 02:27 | We have our spaceship here.
| | 02:29 | Again, it's just a still frame,
| | 02:31 | but we were able to give it some nice
movement, and it feels like it belongs in this world.
| | 02:38 | And let's take a look at our
stars we have here. Video stars.
| | 02:45 | This is our background for our title
sequence and it's also the background
| | 02:50 | that's behind Saturn here.
| | 02:52 | And speaking of Saturn, you can go ahead and
take a look at just a still image of Saturn.
| | 02:59 | Not much to it.
| | 03:00 | But it looks pretty majestic here.
| | 03:03 | We just give it some movement and change
the scaling, and give it a little bit of
| | 03:08 | texture, and it really does,
you know, pop out.
| | 03:11 | So even if you just have a couple of
still elements, you still have the tools to
| | 03:17 | really put together
something pretty interesting.
| | 03:19 | So as you can see, in the world
of compositing, what you see isn't
| | 03:23 | necessarily what you get.
| | 03:25 | Rather, you're able to combine various layers and
shapes and effects to create a whole new scene.
| | 03:30 | Now this course will prepare you for
that by teaching you how to use various
| | 03:34 | compositing effects, like AniMatte,
where we draw shapes to define layers,
| | 03:38 | and matte keys where we use transparent
layers called alpha channels to define
| | 03:42 | layers, and chroma keys where
we use color to define layers.
| | 03:46 | And by the end of the course you'll be
able to combine all of these elements
| | 03:49 | together using all of these
techniques and more.
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| Using basic compositing effects| 00:00 | Before we jump into the deep end of
advanced compositing effects, which we'll
| | 00:04 | discuss later in this course, let's go
over some basic effects that can help you
| | 00:08 | begin building your layering techniques.
| | 00:11 | Specifically, we'll take a look at the
superimpose effect, the picture-in-picture
| | 00:14 | effect, and the 3D Warp effect.
| | 00:17 | So if you've been editing for a while,
you've probably worked with layered
| | 00:20 | video tracks already and most likely you've
used these common compositing effects before.
| | 00:24 | Just in case though,
let's take a look at each one.
| | 00:27 | I'm going to load the Stars
clip into the source monitor.
| | 00:30 | And I'm going to go ahead
and mark an in and an out.
| | 00:34 | And let's go ahead and splice this
into the timeline by pressing V.
| | 00:38 | And let's name or sequence immediately.
| | 00:41 | I'm just going to call it Compositing practice.
| | 00:47 | And then we'll go ahead and load the Earth clip.
| | 00:50 | And we want to create another video track.
| | 00:52 | You can do that by right-clicking
in the gray part of the timeline and
| | 00:55 | choosing New Video Track.
| | 00:56 | But I like to use my keyboard, so I'm
going to press Command+Y, or Ctrl+Y on a PC.
| | 01:02 | And we want to patch V1 to V2.
| | 01:06 | And just turn off our audio.
| | 01:08 | And I'm going to overwrite this in,
| | 01:10 | so I'll press B. And I'm going
to just trim that up just a bit.
| | 01:16 | And this time I'll define the duration
in the timeline and edit my Moon clip in.
| | 01:22 | And I already have an in point there.
| | 01:24 | If you don't, you can go ahead and make it.
| | 01:26 | And I'll press B there and I'll
do one more with Saturn. Okay.
| | 01:32 | We're all set.
| | 01:33 | So, let's go ahead and take
a look at our effect palette.
| | 01:39 | And if you come to Blend > Superimpose, I'm
going to drag the Superimpose effect on Earth 1.
| | 01:48 | You can see that it automatically puts
about a 50% superimposition on it.
| | 01:54 | Then I'm going to put a
picture-in-picture on the Moon.
| | 01:58 | And you can see that it
decreased its scaling by 50%,
| | 02:03 | and we see the stars behind it.
| | 02:06 | And I'm going to put a 3D Warp on Saturn.
| | 02:10 | And notice that nothing
happens to that by default.
| | 02:13 | We're going to have to adjust some parameters.
| | 02:14 | So let's start over here with the Earth shot.
| | 02:17 | I'm going to open up the Effect editor, and
there's very little I can do to this.
| | 02:22 | We've just got Level as a parameter.
And yes, it is 50%.
| | 02:27 | Now let's go ahead and just take a
look at what we can do with keyframing.
| | 02:31 | We're going to be keyframing a lot
in this course.
| | 02:33 | I'm going to just place a keyframe at
the beginning, and then one in the middle,
| | 02:37 | and then one at the end.
| | 02:39 | And then we'll do something very simple in
| | 02:45 | making it just appear from completely
transparent to 50% and then we'll go 100%.
| | 02:57 | So we're just animating this
effect over time. Very, very easy.
| | 03:03 | Very, very common.
| | 03:04 | Right now there's really no other
parameters that we can work with.
| | 03:08 | Keep that in mind though.
| | 03:09 | I'm going to get back to that concept
a little bit later in this movie.
| | 03:13 | Let's move on to our full moon here and
I'm going to open up the Effect editor.
| | 03:19 | Notice we do have a couple more parameters here.
| | 03:21 | I'm going to go ahead and just
twirl some of these down. Okay.
| | 03:26 | Again, I'm going to just put a keyframe at
the beginning, and a keyframe at the end.
| | 03:30 | This is a good habit to get into.
| | 03:32 | Keep in mind if you would like to
change something about the clip during the
| | 03:35 | entire duration, you want to make
sure that all keyframes are selected.
| | 03:40 | So just a reminder, we can select all
keyframes by just selecting one of them,
| | 03:45 | and then pressing Command+A and
we've selected all of them.
| | 03:49 | And so if I wanted to actually move the
location of that Moon, then that means
| | 03:53 | that it's moved for the
entire duration of the effect.
| | 03:56 | If I only have one keyframe selected,
and the other one is deselected, and I
| | 04:01 | move, then we're going to
produce a movement, an animation.
| | 04:04 | Okay, so that is just basic keyframing technique.
| | 04:08 | Let's go ahead and apply a border around it.
| | 04:11 | I'm going to go ahead and do
that through the entire duration.
| | 04:13 | So again, I'm going to press
Command+A to select both keyframes,
| | 04:18 | and we'll go ahead and give it a border.
| | 04:20 | In order to see the border, we
need to give it a width first.
| | 04:24 | And then we can come in and give it a color.
| | 04:27 | We can sample colors around the frame here.
| | 04:33 | We can have a Fixed Border, or we can
have a border with a gradient, where it
| | 04:37 | would move from one color to another.
| | 04:39 | We can of course change the Foreground level.
| | 04:41 | So if we wanted to fade it in,
just like before, we certainly could.
| | 04:49 | All right, so now we're
fading in over time as we're moving.
| | 04:54 | You can explore other parameters that
you want, but notice that for Scaling and
| | 04:58 | Position, you can use the parameter sliders.
| | 05:01 | But you also have onscreen manipulation.
You saw me before change the position.
| | 05:06 | But keep in mind you do
have a scaling box as well.
| | 05:08 | So if you want to just click on a
keyframe and then manipulate it like so,
| | 05:14 | then you've got a lot going on here.
| | 05:16 | But it's very very easy to
change any value, at any point in time.
| | 05:21 | So this is 2D, if we move to the 3D Warp
we do introduce three dimensional space.
| | 05:28 | I'm going to open up the Effect editor here.
| | 05:30 | And you can see that there's lots of parameters.
| | 05:33 | We won't be able to explore most of them now.
| | 05:35 | But we will hit on a lot of
them throughout this course.
| | 05:38 | We can't see the background
because it's at 100% scaling.
| | 05:41 | So let's just twirl down
Scaling and bump that down.
| | 05:45 | Again we can use the onscreen controls.
| | 05:47 | But the moment I do that, I'm going to
form a keyframe, so again, I want to make sure
| | 05:52 | that I get my keyframes
at the beginning and end.
| | 05:55 | It's just nice housekeeping to have
keyframes at the beginning and end.
| | 05:58 | You don't want there to be a random
keyframe in the middle, because then
| | 06:01 | something might happen halfway
through and you might not like that.
| | 06:04 | All right, so again, I'm going to go ahead
and just add a keyframe in the middle here.
| | 06:08 | And I want to show you how this introduces
our Z-space, our three dimensions.
| | 06:14 | There are a couple of parameters in
here that show that, namely Rotation.
| | 06:18 | So, as we see here the X
Rotation goes around the X axis,
| | 06:21 | kind of like a roll of toilet paper.
| | 06:24 | The Y Rotation goes around the
Y axis, kind of like a turntable.
| | 06:30 | And the Z Rotation goes around the
Z axis like the hands of a clock.
| | 06:36 | So let's just do some
interesting manipulations here.
| | 06:41 | And we've got just this keyframe
selected so, as we go from the first
| | 06:46 | keyframe to the middle and then
back to the last, you can see that our
| | 06:52 | animation is happening.
| | 06:54 | And again, there's lots and lots of
different parameters in here that you can
| | 06:57 | explore, and that we certainly
will explore throughout this course.
| | 07:01 | And many of them do contain an
element of that third dimension.
| | 07:06 | Now the very important thing about 3D Warp,
and the ability to access all of these
| | 07:11 | parameters, is that many, many
effects allow you to promote to 3D.
| | 07:17 | So remember I said we would
come back to our Superimpose
| | 07:22 | where we only have one parameter?
| | 07:24 | Well, that's until we promote it to 3D.
| | 07:27 | I'm going to click on this
little 3D block down here.
| | 07:30 | And lo and behold, it's now a 3D Warp.
| | 07:33 | And the superimposition, that level
happens to be in the foreground category
| | 07:39 | where we have the ability
to control the Opacity here.
| | 07:42 | So again, we have all these
parameters available to us.
| | 07:45 | We're going to be promoting to 3D a lot,
because we have a lot of control here.
| | 07:50 | And most effects don't
have this element of control.
| | 07:52 | But we can basically get to this point
through any effect by promoting to 3D.
| | 07:57 | Notice that there's no demote.
| | 07:59 | Once you're in 3D, you're in 3D.
| | 08:02 | So as you can see, applying compositing
effects and adjusting just a few simple
| | 08:06 | parameters allows you to effectively
layer your video so that you can begin
| | 08:10 | displaying different images, and parts
of images, in your scene simultaneously.
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| Introduction to advanced compositing effects| 00:00 | Once you've mastered some of the more
simple compositing effects, you may want
| | 00:04 | to notch it up a few levels to gain more
control and more customizability out of
| | 00:09 | your layering capabilities.
| | 00:10 | In this movie, we'll take a brief
look at the various advanced effects that
| | 00:14 | we'll be learning throughout this course.
| | 00:17 | Okay, so in the last movie, we took a
look at the Superimpose, the picture-in-picture,
| | 00:22 | and the 3D Warp.
| | 00:24 | And we were able to keyframe
it and animate it over time.
| | 00:28 | And there were several parameters we
could change, but there was very little in
| | 00:31 | the way of compositing
that we had much control over.
| | 00:35 | We're going to take a look at this Earth shot.
| | 00:37 | And this time instead of simply
superimposing it on top of the stars, we're
| | 00:42 | going to draw an AniMatte shape around it.
| | 00:45 | So this is more of a sit back and watch movie.
| | 00:47 | I'm just going to demonstrate these various
techniques so you can see how they work
| | 00:51 | and we'll go into much more detail later.
| | 00:53 | So I'm going to open up my Key
category, and my AniMatte effect.
| | 01:00 | I'm going to just drag it
right onto the Earth shot.
| | 01:03 | And you can see that it doesn't do anything.
| | 01:05 | I need to open my Effect Editor
to manipulate the parameters.
| | 01:09 | And I'm just going to draw a shape
around the Earth, and watch carefully.
| | 01:15 | Okay, so we are now seeing right to the background.
| | 01:19 | We're defining with a shape,
exactly what we're seeing.
| | 01:23 | So this right now is as big as the Earth.
| | 01:26 | If I wanted to make the shape any
other size, that would be what I saw.
| | 01:31 | So we're going to learn how to
obviously keyframe this over time as well.
| | 01:36 | And we'll be nesting effects inside of it.
| | 01:38 | And lots of other fun stuff.
| | 01:40 | But just to show you the very,
very basics, this is an AniMatte.
| | 01:43 | We're drawing a shape around an image on
a video layer above another video layer.
| | 01:49 | And let's move to this one.
| | 01:51 | We have an actor in front of a green screen.
| | 01:55 | And where we defined layer with shape,
| | 01:57 | in this one, we're going to
do so with color, in this one.
| | 02:01 | So we're going to stay in the Key
category, but this time we're going to apply a
| | 02:04 | SpectraMatte effect.
| | 02:06 | And I'm going to just drag this right
onto the clip, going to open the Effect
| | 02:10 | Editor, and again, don't
try to do, just watch for now.
| | 02:16 | I'm just going to sample the color.
| | 02:21 | And you can see now that we
can see the background here.
| | 02:24 | I'm just going to manipulate
just a couple of parameters.
| | 02:30 | So that we can get a nice clean key.
| | 02:35 | And we've still got some green on him,
so I'm just going to do some very
| | 02:40 | quick color correction.
| | 02:43 | And it looks pretty good.
| | 02:44 | So now, we have defined the matte by color.
| | 02:51 | So we've done it by shape,
and we've done it by color.
| | 02:53 | I want to come down here.
| | 02:55 | I haven't edited this in yet, because I
want to talk about what an alpha channel is.
| | 02:59 | An alpha channel is basically just a
transparent layer, that once we import it
| | 03:03 | into Media Composer, it's going
to allow us to define the layer.
| | 03:07 | So I'm going to hide Media Composer
for just a moment, and I'm just going to
| | 03:11 | show you what we're going to
look at outside of Media Composer.
| | 03:18 | This looks like the same Saturn that we saw
in the last movie, but you'll notice that
| | 03:24 | we don't have a background.
| | 03:26 | So everything around Saturn is
actually a transparent layer.
| | 03:31 | So when we bring it into Media Composer
we'll be able to see through it to the
| | 03:35 | video layer underneath.
| | 03:37 | Let's open up Media Composer again, and
I've actually already imported it. There
| | 03:41 | are some special import rules that
we'll go through in a future movie, but I
| | 03:45 | just want to show you.
| | 03:46 | Here it is. It looks like a black
background, but when we edit it into the sequence,
| | 03:54 | you can see that we have the ability to
see through to the bottom video layer.
| | 03:59 | So these are the three compositing effects
that we're going to explore in great detail.
| | 04:03 | We've got the AniMatte effect
where we define our layers by shape.
| | 04:07 | We've got the SpectraMatte effect where
we define our layers by color, and we've
| | 04:12 | got the matte key where we define
our layers through alpha channels.
| | 04:16 | So as you can see, there are a lot
of ways you can define exactly how you
| | 04:20 | combine, section off, and blend
layers of video together to form a
| | 04:24 | cohesive whole.
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| Understanding intraframe effects| 00:00 | One more tool you can put in your
arsenal is Intraframe Effect editing.
| | 00:05 | Intraframe Effect editing allows you to
work within one layer at a time and draw
| | 00:09 | shapes to alter that part of
the video within the shape.
| | 00:13 | Let's take a look at a few examples
to see what we're talking about here.
| | 00:17 | Now, the Intraframe effect that we're going to
be dealing with in this course is called Paint.
| | 00:22 | We open the Effect Editor,
and we go to the Image category.
| | 00:25 | We can see the Paint Effect right here.
| | 00:27 | So it's not in with the Key effects, with
everything else, because this is not a key.
| | 00:31 | This is an Intraframe effect.
| | 00:33 | So I'm going to apply the
Paint Effect to my track here.
| | 00:37 | And you can see it doesn't do anything.
| | 00:39 | We're going to need to go in
and manipulate it a little bit.
| | 00:42 | I'm going to open up the Effect Editor.
| | 00:45 | And we have some shape drawing
tools right here along the right.
| | 00:49 | And again, this is more of
a sit back and watch movie.
| | 00:52 | I'm just demonstrating the Paint Effect.
| | 00:54 | We will get into this in great
detail a little later on in the course.
| | 00:58 | So I'm just going to select my Oval
tool, and draw a shape surrounding the Moon
| | 01:05 | here, and don't worry, we're not going to
leave it to be a big red circle, but we do
| | 01:11 | have the option of changing this
to a lot of different possibilities.
| | 01:15 | I'm just going to go inside the Mode
menu here and while Solid is one of the
| | 01:19 | choices, I'm going to choose Colorize and
| | 01:26 | perfect the shape there a little bit more.
| | 01:28 | And I'm going to go ahead and just blend
this a little bit better into the background.
| | 01:34 | And let's change the
color from red to a nice blue.
| | 01:39 | So, we have defined one area of the frame,
and we have changed the pixels inside of it.
| | 01:47 | Now this is just one of the many
options that you have about how you
| | 01:52 | change these pixels.
| | 01:53 | Notice that many, many, many of
them are color correction options.
| | 01:57 | And so you can really just define one
area of the frame with a shape, and then
| | 02:02 | affect the pixels inside of it.
| | 02:04 | Some of them are not color correction options.
| | 02:06 | And just to give you an example, I
have an actor here and let's just pretend
| | 02:11 | that we need to blur out his face.
| | 02:13 | So again, we're going to apply the Paint Effect,
and going to open up the Effect Editor.
| | 02:19 | And let's go ahead and just draw a shape
around this part of the frame.
| | 02:31 | Again, we will get into all the
shape drawing tools a little later.
| | 02:34 | We have two obscuring possibilities here:
| | 02:37 | Mosaic allows us to kind of
have a pixelated blur going on.
| | 02:44 | And we can just fade this into the
background a little bit more.
| | 02:53 | Also we can change the
size of those blocks.
| | 02:57 | There we go. There's the Mosaic, and we
also have the ability to, for example, Blur.
| | 03:03 | So there's lots of
different options within Mode.
| | 03:05 | We can alter the pixels within
our shape however we want.
| | 03:09 | We can keyframe these so that they can
animate across the frame as our subject is moving.
| | 03:14 | And we can even do something called
performing a track, where it automatically
| | 03:18 | follows the subject in the video frame.
| | 03:21 | There's lots and lots of possibilities.
| | 03:23 | I'm going to head back to my
first clip here for just a moment.
| | 03:27 | And I want to show you that you can
layer as many Paint Effects as you want.
| | 03:32 | So for example, I'll open this up and we
have one shape right here around the Moon.
| | 03:37 | And I'm just going to go ahead and draw
a shape around the gradient.
| | 03:46 | Let's say we want to kind of change the
color of this gradient a little bit.
| | 03:53 | And it's still on Colorize, I'm going to
go ahead and leave it on Colorize,
| | 03:58 | and then just change the color down here.
| | 04:01 | Say we want it to be more of a green.
| | 04:05 | And let's just definitely
dial that back a little bit.
| | 04:10 | And we have the ability to kind
of alter our shape a little bit.
| | 04:16 | So bottom line, you can
combine as many shapes as you want.
| | 04:20 | You can even layer these shapes,
which we'll get into in a little bit.
| | 04:24 | And then of course we can blend this a
little bit better into the background.
| | 04:28 | So again, we have the ability to
combine as many paint shapes as we want.
| | 04:33 | Right now we just have two.
You can keep going.
| | 04:35 | It's not exactly compositing, but it
does involve layering information within a
| | 04:40 | single video track, and can really
often be useful for enhancing or fixing
| | 04:45 | information in your video.
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|
|
2. Working with SpectraMatte and Other Chroma KeyersUnderstanding chroma keys| 00:00 | In this chapter, we'll explore the
SpectraMatte effect, which lets us define
| | 00:04 | layers based on color.
| | 00:06 | Keying out an area based on its color
and then compositing the image over a
| | 00:10 | different background is called
chroma keying, or chroma key compositing.
| | 00:15 | You may have heard this referred
to as blue screen or green screen.
| | 00:19 | This technique is perhaps most famously
used by weathercasters, but is just as
| | 00:23 | often used in the film and commercial
industry, usually to composite subjects
| | 00:27 | over a computer-created background reality.
| | 00:30 | Now there are several chroma keyers in
Avid Media Composer, but there is definitely
| | 00:33 | a superior choice;
| | 00:35 | the SpectraMatte effect, which is the
one we're going to explore in this chapter.
| | 00:39 | To use chroma keying, you need three things.
| | 00:42 | First you need a subject shot in front of a
well-lit, flatly-lit colored screen or wall.
| | 00:49 | Again, this screen or wall is usually
green or blue because those colors are the
| | 00:54 | least like skin tone and almost
all chroma keyed subjects are people.
| | 00:59 | Secondly, you need a background that
you'd like to composite your subject against.
| | 01:04 | This background can be anything, video,
CGI, or even simply another colored or
| | 01:10 | textured background.
| | 01:11 | Once you capture these two elements
into your editing or compositing software,
| | 01:15 | in this case Media Composer, you
always edit the green screen or blue screen
| | 01:20 | subject on the track above
the background. Just like this.
| | 01:25 | Third, you need a Chroma Key
effect within an editing or graphics
| | 01:28 | software program, which we will place on the top
track, which is on the clip of your subject.
| | 01:34 | A Chroma Key effect analyses the image
for color and then keys through the area
| | 01:39 | that falls within a
specific color or color spectrum.
| | 01:43 | When it does this, everything
that was green or blue, now becomes
| | 01:47 | transparent and therefore you see
whatever is on the lower track, which is
| | 01:52 | your virtual background.
| | 01:54 | As you can see, the chroma key process
is fairly simple but it truly opens up
| | 01:59 | a world of possibilities when it comes
to creating realities within Avid Media
| | 02:03 | Composer.
| | Collapse this transcript |
| Using SpectraMatte to pull chroma keys| 00:00 | A lot of amateur filmmakers love the
idea of chroma keying but don't necessarily
| | 00:05 | know the proper techniques
to garner the best results.
| | 00:08 | Unfortunately, this can result in some
sloppy keys and unbalanced composites
| | 00:13 | that even the most
inexperienced viewers can detect.
| | 00:16 | Therefore, in this movie we'll
explore the nitty gritty details about the
| | 00:20 | individual parameters within the
SpectraMatte effect, so that you can pull
| | 00:24 | the best keys possible.
| | 00:26 | Okay, so we have already edited our subject
layer on top of our virtual background layer.
| | 00:33 | And we have applied the
SpectraMatte effect to our subject layer.
| | 00:37 | Well, it's obviously not done yet because
we still see the real background instead
| | 00:41 | of our virtual background.
| | 00:43 | And that's because when we
open up our Effect Editor,
| | 00:46 | we see that the color being keyed out is blue.
| | 00:52 | If you look in the SpectraGraph right
here, you can see that the wedge of colors
| | 00:58 | that's being keyed out is
surrounding the blue spectrum.
| | 01:02 | This is Ultimatte Blue. It's just
a very common blue shade.
| | 01:06 | So a lot of times when you have a blue
background, this will pull the key and
| | 01:09 | you will have a head start on the process.
| | 01:11 | But in this case we're going to
need to define the green color.
| | 01:14 | So I'm going to come over to Key Color
and I'll go ahead and twirl this down,
| | 01:19 | and I'm going to click in this box until I get
my Eyedropper, and I'll click and hold
| | 01:24 | and drag over to my background and release.
| | 01:28 | And you saw the SpectraGraph switch and
now we're keying out a range of green colors.
| | 01:35 | You can see that this is
my Key Color right here.
| | 01:38 | I'm going to move this over to the
left just a little bit because I want to show
| | 01:41 | you this white dot.
| | 01:44 | This white dot is the color
that is being keyed.
| | 01:47 | And you want this to fall right in the
middle of the spectrum of values being keyed.
| | 01:52 | So what you can do is use your Red,
Green and Blue sliders to move this around
| | 01:58 | so that it's centrally located.
| | 02:00 | It will produce a better quality key.
| | 02:02 | So I know I need to go towards blue, so I'm
going to drag my Blue slightly to the right.
| | 02:11 | And, there we go.
| | 02:13 | All right, now it's right in the
middle there and that looks good.
| | 02:16 | I'm going to go ahead and close up Key
Color, and we're going to go on to Matte
| | 02:20 | Analysis and Chroma Control.
| | 02:23 | Now this looks very intimidating, but
don't worry. I'm just going to show you some
| | 02:27 | of the parameters, the ones that I
feel will pull the best quality key.
| | 02:32 | I'm first going to show you, Show Alpha.
And I want you to take a look right here.
| | 02:37 | When I click on Show Alpha, you can see that
this breaks apart my background and foreground.
| | 02:44 | My background is meant to be very stark black.
| | 02:47 | And my foreground is
meant to be very stark white.
| | 02:50 | Well my background looks good,
but my foreground has some issues.
| | 02:54 | As you can see, we have some gray areas
here, and that's representing areas that
| | 02:58 | are partially not being keyed.
| | 03:01 | So what this is going to result in, is
some of the background shinning right
| | 03:04 | through our subject, which is not desirable.
| | 03:06 | So we're going to use the parameters
within Chroma Control to fix that.
| | 03:13 | There are four that I'm going to show you,
and they usually do the trick;
| | 03:17 | Tolerance, Key Sat Line, Inner
Softness, and Outer Softness.
| | 03:23 | Let's start with Tolerance.
Tolerance controls this wedge.
| | 03:28 | So if it's wider, that means that you have a
large spectrum of colors in your background.
| | 03:34 | And if it's narrower, that means you have a
narrow spectrum of colors in your background.
| | 03:39 | Well if we take a look at our
background, go ahead and bypass, we have a very
| | 03:45 | narrow spectrum of colors.
| | 03:46 | It's a very well-lit and
flatly-lit background.
| | 03:49 | So, we're going to probably be
decreasing our Tolerance quite a bit.
| | 03:54 | I'm going to just drag over to the left.
| | 03:58 | And the general rule is
overshoot and then tweak back.
| | 04:02 | I'm going to overshoot, and you can kind
of see some of the white come into the
| | 04:05 | background and then tweak back.
| | 04:08 | And I'm going to release.
| | 04:10 | And notice that my wedge
of values got much narrower.
| | 04:14 | That's all I'm going to need.
| | 04:16 | We do not need all of
these green colors keyed out.
| | 04:19 | We really only need this
spectrum of green keyed out.
| | 04:23 | Okay, so we're done with Tolerance.
Let's go to Key Sat Line.
| | 04:27 | Key Sat Line is going to really help you
get rid of a lot of these gray areas.
| | 04:32 | So I'm just going to
drag this over to the right.
| | 04:36 | You notice already it's looking a lot better,
and I'm going to overshoot and then tweak back.
| | 04:43 | And take a look at the hair.
| | 04:45 | I'm either including or
discluding some of that hair in this value.
| | 04:52 | And right now, like I said,
we're processing the matte.
| | 04:55 | We are defining the matte.
| | 04:57 | So we are deciding what's
being keyed and what's not.
| | 05:01 | In general, it's nice to key
stuff that was actually there.
| | 05:05 | The hair is actually on his head.
| | 05:06 | So you want to make sure that you
include as much of it as possible without the
| | 05:12 | background being compromised.
| | 05:14 | I'm going to stop there.
| | 05:16 | And then we head down to
Inner Softness and Outer Softness.
| | 05:19 | This is going to do something similar,
| | 05:21 | and most of the time these are
your friends when you have areas of
| | 05:25 | partial transparency.
| | 05:26 | What do I mean by that?
| | 05:28 | Well, if you have something in your
key with glass, or liquid, or smoke, Inner
| | 05:35 | Softness and Outer Softness are
going to do wonders at defining your key.
| | 05:40 | Here we are really just
going to be affecting the hair.
| | 05:42 | It's kind of a dance.
| | 05:44 | I'm just going to kind of go back
and forth and take a look and see
| | 05:48 | how it's being affected. Not much there.
| | 05:52 | And in the SpectraGraph, you can kind of see
that it's controlling these areas right here.
| | 05:57 | On the outside of the keyed area,
and of course the inside of the key
| | 06:04 | area for Inner Softness.
| | 06:06 | So not too much change there, again,
these are definitely your friend when you
| | 06:11 | have areas of partial
transparency in your foreground.
| | 06:14 | Let's go ahead and deselect Show Alpha,
and as you can see, because we did the
| | 06:18 | work in defining our matte, we actually
have more areas that are being keyed.
| | 06:24 | Now right now they are green, so we do
have some significant spill, which is
| | 06:29 | green, or background color on our subject.
| | 06:32 | But don't worry about that.
| | 06:33 | We're going to fix it in a little bit.
| | 06:35 | I'm going to close Matte Analysis and
Chroma Control, and I'm going to move
| | 06:40 | to Matte Processing.
| | 06:42 | This is going to define the edge
between the foreground and background.
| | 06:47 | So you might need to blur it a little bit,
as I think we probably do in his hair.
| | 06:53 | So I'm just going to bring my slider
to the right just a little bit.
| | 06:59 | And let's actually show
the alpha a little bit here.
| | 07:02 | You can see right now that I'm on Erode,
| | 07:04 | which means that it adds blurring to
the inside of the matte edges only.
| | 07:09 | This usually produces the
cleanest matte processing.
| | 07:13 | If I changed Erode to Blur, it's going
to blur both the inside and the outside.
| | 07:20 | And so he kind of looks like he's
glowing, which is not desirable.
| | 07:23 | And the other one is Dilate, which
means just from the edge to the outside.
| | 07:30 | Again, Erode is usually the
best option, it is the cleanest result.
| | 07:34 | And I'm going to go ahead and just see
what introducing a little bit more erosion
| | 07:42 | will do here, show the alpha.
| | 07:44 | You can kind of see that eroded area
on the outsides, and I think this is
| | 07:49 | going to look just fine.
| | 07:50 | Okay, so we've defined our matte.
| | 07:53 | We've gone through the process, making
sure we have a good clean background and
| | 07:58 | a good clean foreground, and a nice
crisp edge going all the way around.
| | 08:03 | I'm going to go ahead and go to
probably the most important parameter of
| | 08:09 | all, Spill Suppression.
| | 08:12 | Spill Suppression removes the key
color that's been reflected onto
| | 08:15 | the foreground subject.
| | 08:17 | Now this is really common if the
subject is standing too close to the
| | 08:20 | background, or if the subject
contains any sort of reflective material.
| | 08:24 | In this case, he's a little close to
the background, so he's getting a little
| | 08:28 | bit of green spill all through his hair,
on his neck, and also on the seat here.
| | 08:33 | All right, so I'm just going
to drag my Spill Angle Offset.
| | 08:38 | So there is two parameters sliders here, but
we're going to deal with Spill Angle Offset.
| | 08:42 | And I'm going to drag it to the
right and I'm looking, I'm looking until
| | 08:47 | the green goes away.
| | 08:49 | And right there I think most of it is gone.
| | 08:54 | You want to make fairly subtle corrections, because
if I go too far, you can kind of
| | 09:02 | see that he's getting purple there.
| | 09:04 | So you want to make fairly subtle
corrections so that the green goes away, but
| | 09:08 | as you can see, it works really, really well.
| | 09:11 | We've removed our spill.
| | 09:13 | We've suppressed it.
| | 09:14 | There's a lot to know about all the
parameters within the SpectraMatte effect.
| | 09:18 | It may seem daunting to begin with,
but as you pull more and more keys, the
| | 09:22 | process will get easier and faster.
| | 09:24 | In the next movie, we'll go through
every step of the workflow in a faster and
| | 09:29 | more efficient manner.
| | Collapse this transcript |
| Pulling a chroma key with SpectraMatte, from start to finish| 00:00 | Now that we've gone through each
parameter in the SpectraMatte in depth,
| | 00:04 | let's just go through the entire
process end-to-end.
| | 00:07 | You'll find that once you perform it a
few times it gets easier, and faster,
| | 00:11 | and more intuitive.
| | 00:13 | Now just so you know, the last
movie and this movie feature several
| | 00:19 | of the SpectraMatte effects that we
are putting together for the final sequence.
| | 00:23 | So in the last movie, we
basically went over this one right here.
| | 00:28 | And if I go down to his level, you
can kind of see the gradient behind him.
| | 00:34 | And we of course have some
other elements there as well.
| | 00:37 | But that's the basic premise of that shot.
| | 00:40 | And then, if I come over to here, this
is the one we are about to do right now.
| | 00:45 | So he's looking out the window at Saturn.
| | 00:48 | Okay so, I'm going to show you on V1 that
there is Saturn, and on V2 here is our subject.
| | 00:58 | Okay, now here's the green screen, and
he's not as well lit here and it's going
| | 01:02 | to make a difference.
| | 01:04 | If I come into the Effect Editor and
apply the SpectraMatte on V2, we obviously
| | 01:09 | don't key it out first, because
by default we're keying out blue.
| | 01:13 | So I'm going to go through the entire process.
| | 01:16 | And I'm going to reference everything, but
I'm not going to explain it in such detail.
| | 01:20 | We're going to start up here at the Key Color.
| | 01:23 | I'm going to go ahead and sample the key
color, drag it over to my green and release.
| | 01:28 | And we're now keying out the
green area. Now take a look,
| | 01:31 | we have some definite issues here.
| | 01:33 | We basically see Saturn through the
plane right here, which is not desirable,
| | 01:38 | and everything is looking pretty muddy.
| | 01:39 | So we're going to have a lot of work ahead of us.
| | 01:42 | First of all, we want to center our key color,
so I'm going to twirl down Key Color here.
| | 01:47 | And we want to just go a little
bit toward green here,
| | 01:53 | and try to center this just right.
| | 01:57 | Okay, that looks good.
| | 02:00 | I'm going to go ahead and
twirl up Key Color.
| | 02:01 | We're done with that, and on Matte
Analysis, we're going to show the alpha.
| | 02:05 | All right, we definitely have some problems.
| | 02:07 | We're looking for nice crisp black and nice
crisp white and we certainly don't have that.
| | 02:12 | So, we're going to go down to Chroma
Control and we want to try to achieve that.
| | 02:17 | Again, I'm going to kind of go to the
left on Tolerance and then go back.
| | 02:25 | So we want to overshoot and then tweak back
until all of that area is completely black.
| | 02:32 | And we're definitely running into some
problems, but I'm going to stop about right there.
| | 02:36 | We definitely have a
wider range now of Tolerance,
| | 02:40 | and that's because all values to the
left of where I released, you can see
| | 02:45 | introduce that gray graininess.
So I'm going to release about right there.
| | 02:52 | Now we're going to attack it with Key Sat Line.
| | 02:55 | This again is going to control the
area where keying begins, so I'm going to
| | 03:05 | overshoot and then tweak back.
| | 03:11 | And we're actually reaching a point
where we're probably going to need to
| | 03:15 | overshoot so that we get a nice crisp white.
| | 03:19 | And then I'm going to go back with
Tolerance, and kind of get rid of that.
| | 03:22 | So sometimes you kind of have to
dance between these parameters.
| | 03:27 | All right, so it's much less of a
wide wedge as we had originally thought,
| | 03:32 | but we just basically are in
the tweaking stage here.
| | 03:37 | Now let's go ahead down to Inner
Softness and Outer Softness, and see if we can
| | 03:43 | get rid of the rest of that problematic
area with that, which you can see that I am.
| | 03:47 | I'm going to go ahead and just go to
the right on Inner Softness a little bit.
| | 03:50 | If I go too much, you can kind of see
that it's defining the edge around that
| | 03:54 | window a little bit.
| | 03:56 | And I think I'm going to
release about right there,
| | 04:00 | and I'm just going to go back and forth
with Outer Softness to see what I get.
| | 04:03 | Here you can kind of see if I
go too far what happens.
| | 04:08 | All right, so that's looking nice and crisp.
| | 04:10 | I'm going to go ahead and toggle off Show
Alpha and it's a good sign that we do not
| | 04:16 | see Saturn through the
plane anymore, so that's good.
| | 04:19 | And we're not going to have to do too
much in the way of spill suppression.
| | 04:24 | There is not really much green on him, but
let's continue on through the process anyway.
| | 04:29 | Okay, so I'm going to twirl up Chroma Control,
and take a look at Matte Processing briefly.
| | 04:35 | I'm going to go ahead and see
what my Matte Processing does.
| | 04:39 | Again, this is going to define the
area that is between my keyed out area and
| | 04:45 | my non-keyed out area.
| | 04:48 | So Erode usually produces the
best results. I'm going to go to the right,
| | 04:54 | and you can kind of see
that it's blurring that line.
| | 04:57 | So it's not so crisp, and that might work.
| | 05:01 | I'm going to go ahead and just see
what that looks like. It's a nice blend.
| | 05:04 | I think I like that.
| | 05:06 | Again we want to use Spill Angle Offset.
| | 05:09 | Just so you know, Spill Angle Offset is
always used when you use Key Sat Line.
| | 05:16 | Key Saturation does something similar to
Key Sat Line, and that's when you would
| | 05:20 | use Spill Saturation.
| | 05:22 | Again, that's too much information
really, I'm just here to tell you that we're
| | 05:26 | really only going to use Spill
Angle Offset most of the time.
| | 05:29 | All right, let's see if introducing
any Spill Suppression does anything.
| | 05:34 | And it really doesn't too much.
| | 05:35 | I mean, he has pretty decent skin tone here.
| | 05:38 | We're definitely going to need
to color correct the shot anyway.
| | 05:41 | But if I just increase the Spill
Suppression, he's just getting purple and he
| | 05:44 | doesn't look good at all there.
| | 05:46 | So, let's go ahead and
leave the Spill Suppression off.
| | 05:48 | He really doesn't have much green spill
because he's being protected by this wall.
| | 05:54 | And he should be in good shape.
| | 05:56 | Okay, so as you can see, once you get
started working with SpectraMatte and
| | 06:00 | as you pull more and more keys, it's
going to get easier and faster and more
| | 06:04 | efficient.
| | Collapse this transcript |
| Animating SpectraMatte keys| 00:00 | Below all the main parameters in the
SpectraMatte effect are some DVE controls that
| | 00:05 | include scaling, position, and crop.
| | 00:08 | So if you need to move your
foreground subject, you can move these basic 2D
| | 00:11 | controls, or you can also access a
variety of 3D controls. Let's take a look.
| | 00:17 | Right now I have a sequence
and I have two video tracks.
| | 00:21 | On the top is this shot of a rocket,
and then I have our stars on the bottom.
| | 00:26 | And my goal is to make the rocket
appear like it's flying through the stars.
| | 00:32 | So while we don't have a blue
screen or a green screen, we actually do,
| | 00:37 | because we have the blue sky and
we'll be able to key out the blue sky.
| | 00:40 | So often times all you need is a flat color,
and you're going to be able to key it out.
| | 00:45 | Let's take a look at how.
| | 00:47 | I'm going to apply the SpectraMatte
effect to my V2 layer,
| | 00:50 | and as you can see this is really rough.
| | 00:53 | It's just automatically taking that
Ultimatte Blue key out, and we're going to
| | 00:58 | need to fix that significantly.
| | 00:59 | So I'm just going to open
up the Effects Editor,
| | 01:02 | and let's go ahead and bypass so
that we can see our sky and sample.
| | 01:07 | You can see, my white dot is really
pretty centered, so I think I'll leave that
| | 01:11 | where it is, and I'll turn
bypass off, and let's show our alpha.
| | 01:16 | And we're just going to try to
define this a little bit better.
| | 01:19 | When I don't show the alpha, you can
already see that it looks a lot better,
| | 01:22 | except right around the rocket.
| | 01:24 | So, let's go ahead and
try to define that better.
| | 01:27 | We're going to do that in the
Chroma Control parameters.
| | 01:30 | So let's see what Tolerance can do.
| | 01:33 | I'm basically kind of getting rid
of that fuzziness along the outside.
| | 01:38 | So I'm going to overshoot and tweak back and I
think I'll stop about right there, and then,
| | 01:44 | don't think Key Sat Line is going
to do much for me in this case.
| | 01:49 | Let's go head down to Inner Softness,
and Outer Softness.
| | 02:01 | All right, so it looks better around
kind of the tail of the rocket there,
| | 02:06 | but the actual shaft of the
rocket still needs to be defined.
| | 02:10 | We're going to go ahead and take a
look at the Alpha Offset parameter.
| | 02:14 | And that can probably add just a
little bit of definition, which it is here,
| | 02:20 | but I'm going to need to tweak
back on a couple of others.
| | 02:23 | So again, this is often a little bit of a dance.
| | 02:26 | We're going to go through
and get it exactly right.
| | 02:34 | You can see the changes happen both in
the image as well as in the SpectraGraph.
| | 02:38 | Notice that we now have a very wide
range of hues, because we didn't have a
| | 02:43 | well-lit green screen or blue screen
background, we're using the range of hues in the sky.
| | 02:49 | So we're going to need to key most of those out.
| | 02:51 | And as you can see we also have a fairly
blunt edge between the area being keyed
| | 02:55 | and not being keyed.
| | 02:56 | I'm going to see what that looks like.
| | 02:58 | I'm going to go ahead and turn off the alpha.
| | 03:00 | And we might need to do a
little bit more tweaking.
| | 03:04 | But the next thing I want to do--the
point of this movie is to show you how to
| | 03:09 | animate your foreground subject.
| | 03:12 | So, just like before, I'm just going to put a
keyframe at the very beginning and at the very end.
| | 03:18 | And I want to move this
throughout the entire effect.
| | 03:21 | So I'm just going to select one
keyframe and press Command+A, so that they're
| | 03:24 | both affected, and if you come to my
Scaling, Position and Crop parameters, you
| | 03:32 | can see that I have a fair amount of control
over where I place this, so just so you can see,
| | 03:37 | you know, you can make it
as big as you want.
| | 03:41 | I'm going to return that back to 100 because
what we want to do is actually rotate this.
| | 03:46 | You can see that the stars are
traveling horizontally and our rocket is
| | 03:51 | going against the grain here.
| | 03:52 | So what we want to do is rotate this,
| | 03:55 | and we can easily do that by
promoting our SpectraMatte to 3D.
| | 04:00 | So we will promote to 3D,
and here we go, 3D Warp.
| | 04:04 | We have our Rotation parameters,
| | 04:06 | and we have all the parameters that are
going to allow us to work in the Z space.
| | 04:10 | So if you come down to Foreground,
you'll notice that in Foreground are all of
| | 04:15 | my SpectraMatte parameters.
| | 04:16 | So if I need to do any
further defining, it's here.
| | 04:21 | We need to turn it around the Z axis
so I'm going to make that adjustment.
| | 04:27 | Let's see what that looks like.
| | 04:31 | We probably need to keyframe
it a little bit.
| | 04:32 | And we're going to need to hide the
fact that we don't have a tail right here,
| | 04:37 | so I'm also going to reposition it.
| | 04:40 | I'm just going to park on one keyframe,
Command+A to select them all, and then
| | 04:44 | just kind of position it down like so,
| | 04:47 | and rotate it, and let's see
what this looks like.
| | 04:53 | (video playing)
| | 04:59 | All right, not bad.
| | 05:00 | Again if we wanted to keyframe it along
the way, we could just place a keyframe
| | 05:05 | here, and then move it back,
and then give it more rotation,
| | 05:10 | like so, so we can kind of keep it fit
in the frame and we could keep doing that.
| | 05:15 | So I definitely think that you should
keep tweaking it and if we need to come
| | 05:19 | back again and define the
matte, we certainly can.
| | 05:21 | Those parameters are available in the
Foreground category, and you can come back
| | 05:25 | in and tweak that further.
| | 05:27 | So as you can see, the sky's the limit
for how you manipulate your image once
| | 05:31 | you pull the key.
| | 05:32 | You can use as many 2D or 3D
effects as it takes to create your own
| | 05:36 | perfect reality.
| | Collapse this transcript |
| Working with luma keys| 00:00 | While the SpectraMatte effect is the
most effective chroma keyer, sometimes a
| | 00:04 | luma keyer is a better option.
| | 00:06 | You use a luma key if the area that you
want to key out is based on luminance values.
| | 00:10 | That is, if you can key out
either bright or dark areas.
| | 00:14 | Further, you can work with this key in 3D
just like SpectraMatte. Let's take a look.
| | 00:19 | Now there are two ways that
you can access the 3D luma keyer.
| | 00:22 | One way is to put on the 3D Warp
and then open up the Effect Editor,
| | 00:28 | and come down to Foreground
and switch your key, to Luma Key.
| | 00:33 | And now we're working in the Luma
Keyer, but we also have 3D space.
| | 00:39 | And I'm just going to remove that.
I want to show you the other way.
| | 00:41 | If you go to Key, you can
see Luma Key, and apply that.
| | 00:48 | And right now we're not in 3D, but if you
promote it to 3D, we end up in the same place.
| | 00:53 | So two ways to do the same thing, but
let's take a look at what we have down
| | 00:57 | here in the Foreground.
| | 00:59 | You want to sample the background
color just like we did in SpectraMatte.
| | 01:03 | So I'm going to disable Foreground
and then I'm going to come in to Color,
| | 01:08 | even though this is black, you can't
trust that this is the true black that
| | 01:11 | you're actually keying out, which is
about right here. So I'm going to
| | 01:15 | press down with my Eyedropper and then sample.
| | 01:18 | And as you can see, it's now enabled.
| | 01:21 | And so the first thing that we're going to
do is make sure that Luma Range is selected.
| | 01:26 | When Luma Range is selected, my
threshold is my midpoint of luma
| | 01:32 | values being keyed out.
| | 01:33 | So because our background is black,
we're going to want have our Threshold
| | 01:38 | around the value of black, which is 16.
| | 01:41 | 16 is the value of video black.
| | 01:44 | If we were keying out white, we would
just drag the slider up near 235, the
| | 01:50 | value of video white.
| | 01:51 | So this does allow you to key out either
black or white values, or anything in between.
| | 01:57 | You can see as I drag this up nothing happens.
| | 01:59 | That's because we haven't made
any manipulations on Range yet.
| | 02:03 | So I'm going to just return this to
16, and now we're going to actually
| | 02:07 | control the range of values
that are going to be keyed out.
| | 02:11 | So as I drag up with Range, you can see
| | 02:15 | that more and more values are being
keyed out, and we want it fairly close
| | 02:20 | to the rocket here, because we want some of
this glow but not all of it.
| | 02:26 | I think maybe I want about that much glow.
| | 02:29 | And of course it looks terrible,
but that's where softness comes in.
| | 02:33 | I'm just going to up my softness, and now
we're achieving the effect that we want.
| | 02:39 | We have the stars behind it. We still
have this nice beautiful orange glow.
| | 02:45 | And as we go through, it looks like a
rocket flying through space, except for
| | 02:51 | this giant crop line.
| | 02:52 | So it's a good thing we're in 3D Warp.
| | 02:55 | So we'll come back up, and I'm going to add a keyframe
at the very beginning and at the very end.
| | 03:03 | And then I'm going to select
both of them, so Command+A,
| | 03:07 | and let's just alter the position for
now so that we can hide these crop lines.
| | 03:12 | And I'm going to just go through here,
maybe we can get a little bit further up.
| | 03:19 | Okay, fantastic, and then because the
stars are going more horizontally, I'm
| | 03:23 | going to just add a
little bit of rotation to this.
| | 03:26 | Again we're going around the Z axis.
| | 03:29 | I'm going to just hold down Shift
so I can get a fine movement there.
| | 03:32 | And we're going to actually need to
change the position just slightly more
| | 03:36 | because of that rotation.
| | 03:38 | Okay, so there we go.
| | 03:44 | And as you see here we have a
crop problem at the very end.
| | 03:46 | What I would probably do is just
trim the shot to end about right there.
| | 03:53 | So I'm just going to make a quick extract,
and now I think we should be good throughout.
| | 03:59 | Looks like we have a problem there too,
And there are other things that we can
| | 04:03 | do to get rid of that crop line, but
in the context of what we're currently
| | 04:07 | learning I think we've got it.
| | 04:09 | We've applied a luma key, and we now
have our rocket ship moving through space.
| | 04:15 | So as you can see, sometimes isolating
an image's luminance value for
| | 04:19 | keying is a desirable way
to composite your scene.
| | 04:22 | And when that's the case, 3D luma
keys are a great option.
| | Collapse this transcript |
|
|
3. Using the AniMatte EffectMasking out part of an image with the AniMatte effect| 00:00 | The AniMatte effect allows you to draw
shapes and make mattes from those shapes.
| | 00:05 | Now, this allows you to cut out
various parts of different pieces of video
| | 00:10 | and layer, or composite these layers, on
top of one another to create a cohesive scene.
| | 00:15 | Now this may sound a little confusing so
let's take a look at exactly how this works.
| | 00:19 | All right, so we have our actor in front of the
background here and we know from our master sequence
| | 00:26 | that he actually needs to
have a window in front of him.
| | 00:29 | So I have the window right here.
| | 00:31 | And we're going to need to move him to
make sure that he fits right in this space.
| | 00:36 | But for now I just want to
cut this into the sequence.
| | 00:38 | I'm going to go ahead and mark my track on
V3, and overwrite this in by pressing B.
| | 00:46 | And okay, so there's my window.
| | 00:48 | We can't see through it yet, but if we go
to the Effect palette, and in the Key
| | 00:54 | category, we're just going
to apply the AniMatte effect.
| | 00:59 | Again, nothing happens automatically.
| | 01:00 | We have to open up the Effect Editor.
And this is where we start to draw our shapes.
| | 01:06 | Along the right-hand side
are our shape drawing tools.
| | 01:09 | We have the Rectangle tool, the Oval
tool, the Polygon tool, the Curve tool,
| | 01:15 | and the Brush tool.
| | 01:17 | Now we're going to be working
right now with the Polygon tool.
| | 01:21 | And I'm just going to select it.
| | 01:23 | And what we want to do is we want to cut
out this shape right here, and we'll
| | 01:28 | eventually cut this one out as well.
| | 01:29 | But for this movie we're going to focus
on cutting out this shape so that we can
| | 01:33 | see our guy behind it.
| | 01:35 | Now there are two ways
that the Polygon tool works.
| | 01:38 | First of all, you can just click and
release and then click and release and
| | 01:43 | you'll get straight edges. Or you can
click and drag,
| | 01:48 | and click and drag and you get curved edges.
And this results in getting Bezier handles.
| | 01:56 | As you can see when I
drag I get my Bezier handles,
| | 01:59 | and this will allow me to later manipulate
these curves, in any way that I wish.
| | 02:04 | So I'm just following this around.
| | 02:06 | If I don't get it perfect, that's okay because,
we can come back later and manipulate it.
| | 02:11 | So we're almost around, and
we just want to join the shape.
| | 02:17 | And we don't have it quite yet.
| | 02:20 | Right now what it's doing is it's
showing the shape that I did not draw.
| | 02:24 | What we want to do is see
what's inside of the shape.
| | 02:27 | So we come over to the Mode menu
and you can see here that we have two
| | 02:31 | options, Key In or Key Out.
| | 02:34 | I want to Key Out in this case.
| | 02:36 | And now we have exactly what we want, except
he's not in the frame yet, but we'll fix that.
| | 02:41 | Usually when you draw an AniMatte shape,
you're also going to want to introduce
| | 02:45 | a certain amount of Feathering.
| | 02:47 | Feathering is going to make these edges
not so severe, so it's going to blend a
| | 02:50 | little bit into the background.
| | 02:53 | And you do that by just clicking
on your horizontal and vertical--
| | 02:56 | and I'll just do something pretty
drastic here so you can see what's happening.
| | 03:00 | But it's basically making that very soft so I
don't want to go too much.
| | 03:06 | And if I have my Bias towards 100, it's
going to go from the outside of the edges in.
| | 03:12 | If I have my Bias towards 0, it's
going to do the opposite.
| | 03:17 | So I want to kind of have
something a little bit like this.
| | 03:21 | Now if I'd like to manipulate this shape,
I just double-click, and I get my handles.
| | 03:28 | And if I did make a Bezier curve,
like about right here, you can see that I
| | 03:32 | have the ability to manipulate my curve so I
want to come in and perfect it a little bit.
| | 03:37 | It's not bad.
| | 03:37 | It's going to work just fine.
| | 03:39 | But just so you see, if you need to
tweak it a little bit, you can come in,
| | 03:42 | and then if you double-click again,
you can move it.
| | 03:46 | So you can see what happens.
There he is!
| | 03:49 | But we want to make sure to move
him over right in front of the window.
| | 03:52 | So, just a little bit more manipulation,
and I definitely challenge you to tweak
| | 03:59 | it until it's exactly perfect,
but I think it's good for now.
| | 04:02 | We now need to move him in front of the
window, which means we just have to come
| | 04:07 | back down to our SpectraMatte effect
and I'm going to promote this to 3D.
| | 04:15 | And we'll go ahead and just add a keyframe
at the beginning and end, because
| | 04:18 | again, that's good housekeeping.
| | 04:19 | I'm going to press Command+A to
select them both.
| | 04:22 | And now I'm just going to drag him over.
| | 04:28 | And it's not really to scale yet, so
let's come into my Scaling parameters,
| | 04:35 | Fixed Aspect so they both go at the same rate.
| | 04:38 | And it's looking better.
| | 04:43 | Okay, so I think that's looking pretty good
and let's go ahead and just scrub through it.
| | 04:50 | All right, I like it very much.
| | 04:53 | I think that what I'd like to do is
actually put a tint on the spaceship.
| | 04:58 | It's a little white.
| | 05:00 | So you can do that to
AniMatte effects very easily.
| | 05:02 | I'm going to just select V3 again.
| | 05:05 | When you want to apply a different
effect to your AniMatte effect, like color,
| | 05:10 | you want to step in.
| | 05:11 | And you can do that by just double-clicking,
| | 05:14 | and we can apply the color effect
right here, which I'll do that right now.
| | 05:18 | I'll just click on Image and then
Color Effect and drag it on over.
| | 05:24 | And I'm going to open up the Effect Editor and
make sure that's selected.
| | 05:30 | I'm going to go ahead and just go
find maybe a nice, bluish-purple.
| | 05:43 | Okay, and just manipulating some
of these parameters here to give it
| | 05:50 | a hue that's not so starkly white,
like so, maybe it's a little too saturated.
| | 05:58 | So you can see what we're doing here.
| | 06:00 | We're just basically cutting out
parts of the video and layering them.
| | 06:04 | You can nest different effects
inside of AniMatte effects.
| | 06:08 | You can layer AniMatte effects on
top of one another.
| | 06:11 | So we're looking pretty good here.
| | 06:12 | I challenge you to go ahead and cut out
the other window, and finish making this
| | 06:17 | look exactly like a cohesive scene.
| | 06:19 | But we're well on our way to
creating our Nova spaceship promo.
| | Collapse this transcript |
| Animating masks with AniMatte| 00:00 | Now that you know how to apply static
AniMattes, let's take a look at how to
| | 00:04 | give movements to these layers.
| | 00:06 | In this movie, we'll take a look at
how to animate layers using keyframes in
| | 00:10 | the AniMatte effect.
| | 00:12 | Okay, so I have a little animation here and
this is basically the view out of the back
| | 00:19 | window of the space craft
as you've already left Earth,
| | 00:23 | and now you're leaving the Moon. It's
really not to scale, but that's okay.
| | 00:28 | So, I've got another sequence here.
| | 00:31 | And here are the two images.
| | 00:34 | You can see here now that
I'm monitoring the Moon layer.
| | 00:37 | And we've got like a black background behind it.
| | 00:41 | And then if you look at the Earth layer,
we have this green background behind it.
| | 00:45 | But I've already applied the movement
with 3D Warps, and now we're just going to
| | 00:51 | AniMatte it so that we don't
have these ugly backgrounds.
| | 00:55 | Okay, so we're just going to Option+Drag,
or Alt+Drag on a PC, our AniMatte
| | 01:00 | effects on top of our 3D Warps, like so.
| | 01:07 | And I'm going to attack the bottom layer
first, so I'm going to first do the Earth.
| | 01:13 | And let's go ahead and open up Effect mode.
And we've got two keyframes.
| | 01:20 | And when I'm drawing the shape, I want
to make sure that they're both selected.
| | 01:23 | So I'm just going to go into my Oval tool,
| | 01:27 | and we're going to draw an initial
shape to key out that green background.
| | 01:33 | And you know, ideally we would have
some stars behind it on V1, and you can
| | 01:38 | certainly search through some of
the source material to find that,
| | 01:41 | but I've just got a basic
black background now.
| | 01:44 | So, get that exactly right,
| | 01:47 | and then also with both keyframes
selected you want to put in some feathering,
| | 01:51 | just going to up the Feathering just a bit.
| | 01:54 | And when you want to choke the matte,
which means you want to make sure that
| | 01:57 | you're not bleeding towards the outside,
but it's basically going toward the inside.
| | 02:02 | You want to bring your Bias closer to 0.
| | 02:06 | So, we start out fine, but then that
doesn't work at the end.
| | 02:11 | So all you have to do to animate
your AniMatte is to work with keyframes.
| | 02:16 | And this is a very simple movement.
| | 02:18 | I'm just going to reshape my
AniMatte shape on the second keyframe.
| | 02:23 | But even with more complicated
examples, when something is moving
| | 02:27 | in several directions over the duration
of the effect, you're just going to add
| | 02:32 | keyframes throughout the
effect and then resize as necessary.
| | 02:36 | If you have a more complicated shape
that's not a circle, for example, if
| | 02:40 | you drew a polygon, you would just
double-click on your shape and then you
| | 02:44 | would receive the direction handles
that you could then begin manipulating
| | 02:48 | and changing the shape.
| | 02:49 | But all we've got is an oval
here so we're fine.
| | 02:52 | We are now animating as the Earth is
disappearing into the background. That looks good.
| | 02:58 | Now let's go ahead and do the
same thing for V3, our Moon.
| | 03:04 | Open up the Effect Editor, and I'm
going to click on the first keyframe, but then
| | 03:09 | press Command+A and select them both.
| | 03:11 | Whenever you're drawing a shape you
want to make sure they are both selected and
| | 03:14 | then when you put feathering on you
want to make sure they're both selected.
| | 03:17 | So again we've got a very simple shape here,
| | 03:25 | and again, we're going to choke the matte, so
let's go ahead and introduce some Feathering.
| | 03:31 | And then move our Bias close to 0.
| | 03:35 | And as I go through the effect, you can
see that we're going to need to animate down.
| | 03:39 | So I'm just going to click on the
last keyframe, making sure the first
| | 03:42 | keyframe is deselected.
| | 03:44 | And just bring this down a bit. And
we'll call that done.
| | 03:57 | So, now we've got our back view out
of our spaceship, passing the Moon up.
| | 04:04 | The Moon is diminishing in a
faster rate than the Earth.
| | 04:09 | Which makes sense, right?
| | 04:11 | And they are layering. Everything looks good.
| | 04:13 | And as you can see animating mattes
is a fairly straight forward process.
| | 04:18 | And it allows you to introduce a world
of motion into your composite scenes.
| | Collapse this transcript |
| Motion tracking AniMatte masks| 00:00 | In the last movie, we learned how to keyframe
AniMatte shapes to animate them over time.
| | 00:06 | Well, sometimes the movement isn't too
easy to keyframe, which is why motion
| | 00:09 | tracking is such a great
tool. Let's take a look.
| | 00:13 | Okay, so we have our rocket
here and we have our stars.
| | 00:18 | And what I'd like to do is just make it seem
like the rocket is traveling through the stars.
| | 00:22 | We did this in an earlier movie
with Chroma Key techniques and now we're
| | 00:26 | going to do it with AniMatte.
| | 00:29 | Okay so we need to probably darken this up to
make it look like it can be in the night sky.
| | 00:34 | We also want to rotate it around so that
it's going in the same direction as the stars.
| | 00:39 | So I'm going to go to my Effect pallet, and
under Image I'm going to choose the Color Effect.
| | 00:46 | And let's go ahead and open up the
Effect Editor, and let's darken it up and
| | 00:51 | increase the contrast.
| | 00:54 | And let's give that tail an
orangeish tint, bump up the red,
| | 01:02 | and bump down the blue.
| | 01:05 | Looks good as far as color is concerned.
| | 01:07 | Now let's go ahead and rotate it.
| | 01:10 | I'm going to do so with a 3D Warp.
| | 01:12 | Option+Drag this on top, and
open the Effect Editor.
| | 01:19 | Okay, so we want to rotate it around the
Z axis. I'm going to go ahead and do that.
| | 01:26 | And I'm going to put a keyframe at
the very beginning and very end.
| | 01:30 | And then I'm going to press Command+A or
Control+A to select both of them, and reposition it.
| | 01:38 | And I'm going to just go through the whole
thing and make sure that it looks okay.
| | 01:43 | Actually, I probably need to
reposition it just a bit more.
| | 01:48 | Okay, I think that's going to be just fine.
| | 01:53 | I'm going to go ahead and now
apply my AniMatte effect.
| | 01:58 | I'll come in to Key, and AniMatte, I'm
going to Option+Drag, or Alt+Drag for a PC,
| | 02:04 | and I'm going to go into my
Effect Editor and draw my shape.
| | 02:08 | I'm going to use the Polygon tool.
| | 02:11 | I'm going to use a combination of
curves and edges to draw this shape.
| | 02:21 | As we go through you can see that the
shape stays where it is but the rocket moves.
| | 02:27 | And that's not what we want.
| | 02:29 | Now the first thing I want to do is
just apply some Feathering to the shape so
| | 02:34 | that it blends into the
background just a little bit better.
| | 02:36 | So I'm going to come into
my Feathering parameter.
| | 02:40 | And bump up my horizontal and
vertical Feathering parameters.
| | 02:44 | Bring down my Bias just a little bit.
| | 02:47 | And I'm going to just click outside in the
gray area so that I can see how it looks
| | 02:52 | in its first state.
| | 02:53 | And again, it's going to look bad as I
go on because my matte doesn't move.
| | 02:58 | So what we want to do is perform a track.
| | 03:01 | We do that with the Tracking tool.
| | 03:04 | The Tracking tool is right here.
| | 03:05 | It's in the AniMatte effect and
it's in a lot of effects.
| | 03:08 | The Tracking tool is a very cool way
for you to track your video and move an
| | 03:12 | effect along with it.
| | 03:14 | I'm going to click on the Tracking tool,
and as you see here we see the stars,
| | 03:18 | which is the background,
and we have our tracker.
| | 03:22 | So we want to instead track our
foreground, and we want to put our tracker,
| | 03:28 | specifically the yellow X
on an area of high contrast.
| | 03:33 | That's how it's going to grab on to the video.
| | 03:35 | So I'm just going to put it about right there.
| | 03:38 | And it's going to find inside this
smaller square, that area of high contrast.
| | 03:43 | And the larger square is
basically the outer limits.
| | 03:46 | And I'm just going to drag that in
just a little bit, because we want it to be
| | 03:50 | very, very close.
| | 03:52 | So if we have a good track, that means
that the X will not leave this location.
| | 03:57 | It's going to latch on to it.
| | 03:59 | I'm going to go ahead and start the track.
The Start Tracking button is right here.
| | 04:03 | I'm going to go ahead and press it, and just keep
your eye on that tracker and make sure that
| | 04:07 | it doesn't leave that spot.
Okay, we're done.
| | 04:13 | The track is finished, and we
have this squiggly yellow line.
| | 04:18 | This is actually tracking data.
| | 04:20 | So it tracked every movement of this video.
| | 04:25 | And we're going to use this to our advantage by
attaching this tracking data to our AniMatte shape.
| | 04:30 | That's pretty amazing.
| | 04:32 | So, I'm going to go ahead and close
that and head back to the beginning here.
| | 04:38 | I'm going to choose my shape, and
| | 04:43 | right now it's still not moving, but
I'm going to go ahead and twirl down my
| | 04:48 | Tracking category and you can see I
have up to four trackers I can apply.
| | 04:53 | Right now we only have one tracker
because this is a fairly simple movement,
| | 04:58 | going from left to right.
| | 04:59 | There is a little bit of arching
but if you have a lot of rotation,
| | 05:03 | if something is going back and to the
left or the right, you might want to attach
| | 05:07 | more than one tracker.
| | 05:08 | But we only have one so all I have
to do is just click on this button and
| | 05:13 | I've enabled my tracker.
| | 05:15 | And now when I go through, you
can see that my shape goes with it.
| | 05:20 | Now it doesn't keep it in frame in the very
end because I have just changed the trajectory.
| | 05:26 | I'm going to have to actually reform the shape.
| | 05:29 | But take a look at the intricate movement
that the shape is making along with the video.
| | 05:36 | Okay.
| | 05:37 | So when something changes, you
usually can just click on the last keyframe.
| | 05:42 | You might have to add a couple more in
between, but I'm going to see how much we
| | 05:45 | can get away with just clicking on the last one.
| | 05:47 | I'm going to redraw the shape so that it
surrounds the rocket ship at the end as well.
| | 05:52 | Okay, so I'm going to go ahead and make sure
that just this keyframe is selected and
| | 06:00 | change the shape just a bit.
| | 06:04 | I'm going to have to double-click on the
shape and then just start to manipulate
| | 06:11 | the shape around the rocket ship like so.
| | 06:16 | Okay I think we are getting close.
| | 06:19 | We've reformed this shape, but the
tracking data is still applied.
| | 06:23 | And let's go ahead and just scrub
through it and see if it follows it.
| | 06:27 | It looks like it does.
| | 06:31 | I'm going to just click outside in the
gray area here, and if you don't have a
| | 06:35 | gray area you can get one by just
reducing your size just a little bit.
| | 06:40 | And I'm to go ahead and
play and let's see how it does.
| | 06:43 | (video playing)
| | 06:51 | All right, not bad at all!
| | 06:54 | Might just need a little bit more
tweaking, but I think this looks really good.
| | 06:58 | So if you have a simple movement,
keyframes are probably good enough.
| | 07:02 | But if you have a more complex
movement, use the Tracking tool.
| | 07:06 | Because the Tracking tool will make
intricate movements really easy to
| | 07:09 | work with.
| | Collapse this transcript |
| Grouping composited clips together as a submaster| 00:00 | In this movie, we're going to put all
the AniMatte tools together to composite
| | 00:04 | our spaceship scene, and we're also
going to take a look at a very useful tool
| | 00:09 | called the Submaster effect, which will
allow us to animate an entire group of
| | 00:13 | layers and effects at once.
Let's take a look.
| | 00:16 | Okay, so we have our subject and we have
our spaceship and we have our background,
| | 00:24 | but he's facing the wrong
way and we need this to move.
| | 00:29 | I'm just going to show you what the
master sequence should look like here.
| | 00:35 | And, here we have him
turned around the other way.
| | 00:41 | And he's moving because the spaceship is moving.
| | 00:45 | Okay, so we need to make that happen.
| | 00:48 | But if you take a look--if we wanted to
cause movement, we have three things to move.
| | 00:52 | We have the subject. We have the ship.
| | 00:55 | And we have the AniMatte shape.
| | 00:59 | So we would have to go through each layer
independently and move them each separately.
| | 01:05 | Or we can actually combine them
together, which is what we're going to do.
| | 01:08 | So what we want to do is nest all of
these into one nested sequence, and we're
| | 01:13 | going to do that via a collapse.
| | 01:15 | I'm going to go ahead and just mark an in
and an out point on either side of this
| | 01:21 | sequence, and this button
right here is your Collapse button.
| | 01:26 | I'm going to go ahead and press it.
| | 01:28 | And now you have
everything contained in one layer.
| | 01:32 | If you wanted to see inside of the
collapse, you could always step in.
| | 01:35 | And there it all is.
| | 01:38 | I'm going to go ahead and step out.
| | 01:39 | But now that this is collapsed and we
only have one track that we're dealing
| | 01:45 | with, we can actually manipulate
all the layers at the same time.
| | 01:50 | If I open up the Effect Editor, you
can see that the collapse is now nested
| | 01:54 | underneath something called a Submaster.
| | 01:57 | And, if you ever needed to just do this
within the Effect palette, the Submaster
| | 02:03 | is located within the Image category.
| | 02:05 | All right, so you notice there's no
parameters to adjust in the Submaster, so
| | 02:09 | we're going to need to auto
nest a 3D Warp on top of it.
| | 02:14 | So we'll go to Blend, and I'm going to
Option+Drag, or Alt+Drag on a PC, my 3D
| | 02:20 | Warp on top of my Submaster effect,
and here's all of our 3D Warp parameters.
| | 02:26 | So we need to do a couple things.
| | 02:28 | We need to first, put a keyframe
at the very beginning and very end.
| | 02:35 | And then I'm going to go ahead and
select both keyframes, Command+A or Control+A
| | 02:38 | on a PC, and we want to just rotate it
around the Y axis so he's looking the other way.
| | 02:46 | So go ahead and do that, and oops, too
far, going to just press Shift to make it
| | 02:54 | a fine motion like so.
| | 02:57 | And then we actually need to scale it up
because we can't introduce any movement
| | 03:03 | because this is perfectly sized.
| | 03:05 | So if we introduce movement, we would
have the background showing behind and
| | 03:09 | we don't want that.
| | 03:10 | So let's also scale it up,
again with both keyframes selected,
| | 03:16 | and now I'm going to select the first
keyframe and start him off over here.
| | 03:22 | And select the last
keyframe and move him to the left.
| | 03:28 | So now he's moving all at once.
| | 03:32 | I think in my final movie, I actually
ended up placing him in this window.
| | 03:36 | And you certainly could.
| | 03:37 | We could go inside the
Submaster and move him over.
| | 03:40 | You certainly can feel free to do that.
| | 03:42 | But right now, I just wanted to get the
concept across that if you have lots of
| | 03:46 | layers, go ahead and nest them all together.
| | 03:50 | And then you can go ahead and apply
effects on top of that to produce an
| | 03:53 | animation across many layers and many effects.
| | Collapse this transcript |
| Using AniMatte effects as transitions| 00:00 | Most of the time, the AniMatte effect
is applied to a segment, as we've seen in
| | 00:04 | the previous movies.
| | 00:06 | However, I should mention you can also use
AniMatte effects as transition effects.
| | 00:10 | In this way, you can design a shape to
wipe off one layer and wipe on another layer.
| | 00:15 | Let's take a look.
| | 00:17 | Okay, so I have just two
shots here, very simple.
| | 00:21 | And I want to apply a customized
AniMatte transition right in between.
| | 00:26 | So I'm going to go to my Effect pallet and
my Key category AniMatte, and this time
| | 00:31 | just drag it right onto the transition.
| | 00:34 | And we'll open up the Effect Editor.
| | 00:36 | And if you aren't zoomed out, I
would recommend that you do so.
| | 00:40 | Again, just press the Reduce
button here, you can zoom out,
| | 00:42 | because we want some off stage area for this.
| | 00:46 | Okay, so I'm going to go
ahead and just draw a shape.
| | 00:49 | You can draw any shape that you want.
| | 00:50 | I'm going to come over with Polygon tool.
| | 00:53 | And let's go ahead and just draw
very simple saw tooth shape, like so.
| | 01:08 | And what we want to do is have it
off screen on the first keyframe.
| | 01:16 | And right now this is only lasting one second.
| | 01:18 | You can of course change this;
if I want it to last two seconds.
| | 01:21 | I can just type in 200,
and now this will last 2 seconds.
| | 01:26 | And now I'll go to the last
keyframe and I can do a couple of things.
| | 01:30 | I mean, I can just drag it over here
so that you see the shape go across,
| | 01:35 | but that's not as interesting, for
example, if I wanted to just have it
| | 01:39 | overcome the frame.
| | 01:41 | And so I'm going to actually copy
the keyframe characteristics
| | 01:46 | from here, Command+C or Ctrl+C on a PC.
| | 01:50 | And I've already moved this but I'm
going to go ahead and just move it back by
| | 01:54 | pressing Command+V or Ctrl+V on a PC.
| | 01:58 | So if you ever want to copy the
keyframe characteristics from one to another,
| | 02:01 | that's how you do it.
| | 02:03 | So this time I'm just going to
select the last keyframe and I'm going to
| | 02:07 | reshape, so I'm just going to double-click
here, and then just drag these across.
| | 02:13 | So you can kind of just see these
jagged movements just coming across the
| | 02:17 | frame, and here as well.
| | 02:25 | So, this is what it's doing.
| | 02:28 | And let's go ahead and just watch it happen.
| | 02:33 | (video playing)
| | 02:36 | All right, pretty cheesy, but you get the
point; you can draw any shape that you want.
| | 02:41 | If you wanted to draw a rocket ship
going across, and you were good at drawing,
| | 02:45 | that would work as well.
| | 02:47 | And you would literally just be wiping
on one image and wiping off another.
| | 02:51 | I'm going to go ahead and remove this.
| | 02:54 | I'm going to go ahead and apply the AniMatte
effect just one more time to my transition,
| | 02:58 | because there is one parameter category
that we haven't gone over yet that can be
| | 03:02 | useful to wipe on and wipe off an image.
| | 03:06 | I'm going to make sure that
both keyframes are selected.
| | 03:09 | And I'm going to come down
here to the Brush tool.
| | 03:12 | The Brush tool is interesting because
it's going to allow me to just gradually
| | 03:16 | write on a transition.
| | 03:19 | And so I'm going to just open up the Brush
category, and I'm going to make this fairly
| | 03:24 | large so I don't have to just go
back and forth a million times.
| | 03:27 | And let's go ahead and just press it.
| | 03:31 | Okay, so I think this is going to to work.
| | 03:33 | Again I'm going to go back and forth,
and you can write your name.
| | 03:38 | You can write anything that you want.
| | 03:40 | Right now I'm just going to go back and forth.
| | 03:44 | So I cover the whole image,
and now we're going to come in,
| | 03:49 | and I'm going to just get my
Selection tool here and select it.
| | 03:54 | Now, what we want is for it to be fully
written on at the last keyframe, which it is.
| | 04:00 | And we want none of it to be
written on, on the first keyframe.
| | 04:04 | So I'm going to select the first keyframe,
making sure the last keyframe is deselected.
| | 04:09 | And then, I'm going to come
to my Path parameter.
| | 04:12 | And right now it's 100%, I'm just
going to go back all the way to 0.
| | 04:17 | Okay, so let's go ahead and play this
and you'll see exactly how it works.
| | 04:23 | (video playing)
| | 04:27 | So it definitely struggled.
| | 04:29 | We see down here in the timecode
track that we were dropping frames.
| | 04:33 | The red line indicates that we were
dropping frames right here and this
| | 04:37 | indicates that we are just about to drop frames.
| | 04:40 | So the buffer kind of got overloaded there.
| | 04:42 | We are working in high definition, so
we might want to just drop our video
| | 04:47 | quality to Best Performance and see
how we do again, just one more time.
| | 04:53 | (video playing)
| | 04:55 | And you can see that it blew right past
that no problem, and no dropped frames.
| | 05:00 | Okay, so there's a lot of interesting
things you can do with AniMatte, including
| | 05:05 | making custom transitions.
| | 05:06 | And if you're an artist, there's some
really interesting things you can do
| | 05:09 | between transitioning from
one image to another.
| | Collapse this transcript |
|
|
4. Using Alpha Channels and Matte KeysUnderstanding alpha channel transparency | 00:00 | So far, we've seen that to create
composites we need to work with multiple
| | 00:04 | video layers, and create mattes so
that certain areas of each layer are
| | 00:08 | transparent, and certain areas are opaque.
| | 00:11 | In the last few chapters, we define
these mattes using SpectraMatte, by using
| | 00:15 | color, and AniMatte effects by using shapes.
| | 00:18 | In this chapter, we'll take a look
at another way of creating mattes, by
| | 00:22 | working with imported graphics with alpha
channels, called matte keys, to define our mattes.
| | 00:27 | Let's take a look at what I mean here.
| | 00:29 | Now, to explain matte keys, let's take a
look at a graphic outside of Media Composer.
| | 00:35 | I've got one right here.
| | 00:36 | And I want the logo and the
text to appear over the stars.
| | 00:43 | And I want everything else to be transparent.
| | 00:45 | Now, this has already been created with an alpha
channel, which we'll go over in the next movie.
| | 00:50 | But, right now we have a transparent
layer, and we're going to be able to bring
| | 00:55 | it in, and put it over our background
with no problem, as long as we follow a
| | 00:59 | few important steps.
| | 01:01 | I'm going to go back into Media Composer here.
| | 01:04 | This is just to show you that you have
quite a few options when you import something.
| | 01:10 | And you're going to want to make sure
that you choose the right ones.
| | 01:13 | So you can sit back and watch, you don't
have to do this with me
| | 01:16 | because we're going to go through this
in a lot more detail in a future movie.
| | 01:20 | I'm just going to right-click
in my bin and choose Import.
| | 01:23 | And we have our file for import right here.
| | 01:28 | And I just want to show you in Options I'm
going to choose to ignore the alpha channel.
| | 01:33 | So, we're going to go over the rest
of this stuff in just a little bit.
| | 01:36 | But right now we're just
focused on the alpha channel.
| | 01:39 | If we ignore the alpha
channel and bring this logo in,
| | 01:44 | we're going to go ahead and just
bring it in as a flattened image.
| | 01:49 | I will edit this into the timeline,
and you'll see that there obviously is
| | 01:56 | no transparency to it.
| | 01:59 | Let's go ahead and do the same Import,
| | 02:03 | but this time under Options I'm
going to choose Invert on import.
| | 02:08 | We'll go over this in more detail,
but basically if anything was created
| | 02:12 | outside of Avid; in Photoshop or
After Effects, or another program, you're
| | 02:16 | going to want to invert it.
| | 02:18 | If it was created using an
Avid program, you won't invert it.
| | 02:20 | So pretty much 99 percent of
the time you're going to invert.
| | 02:23 | I'm going to say OK, and choose my logo,
and Open, and this time we'll still
| | 02:30 | do a flattened image.
| | 02:32 | And notice that we have
an entirely different icon.
| | 02:35 | Just because we chose that we
wanted the alpha channel to come in--
| | 02:41 | looks like we have a transparent background.
| | 02:43 | We won't know for sure until
we edit it in, but there we go.
| | 02:47 | It looks great.
| | 02:48 | Now I just want to show you one more option.
| | 02:51 | I'm going to right-click and
Import, and do the same thing.
| | 02:55 | I'm going to keep the alpha channel on
Invert from import, because it is from Photoshop.
| | 03:00 | And this time I'm going to choose that I
would like this Sequence of Layers, and
| | 03:05 | this is a really, really terrific
feature because as you'll see when it comes
| | 03:09 | in, we have every layer of the Photoshop file.
| | 03:14 | So I can literally just edit
one layer on top of another.
| | 03:20 | Go ahead and mark my in and my out points,
and get each element of it arranged just so.
| | 03:29 | And I'm sure you can see why
this is going to be so powerful,
| | 03:37 | because each one of these is
totally able to be animated separately.
| | 03:42 | So if I go ahead into
Effect mode on this matte key,
| | 03:47 | you'll notice that I have some
DVE controls, as far as just my
| | 03:51 | two-dimensional controls.
| | 03:53 | I can also just promote it to 3D.
| | 03:56 | We have a whole host of other options.
| | 03:58 | We are very familiar with the 3D Warp.
| | 04:01 | When it's in a matte key, it
changes to 3D Mattekey, but of course,
| | 04:05 | everything moves the same.
| | 04:07 | But this is just so special because
when we bring it in, in a sequence of
| | 04:11 | layers, we can literally promote each
layer to 3D and have all sorts of control
| | 04:18 | for each one of these layers.
| | 04:20 | And we're going to be doing this a
little bit later in a future movie.
| | 04:24 | So you get the idea. You have some options.
| | 04:26 | If you're not careful you are not
going to get any alpha channel at all.
| | 04:30 | You can import a graphic with an alpha
channel and have it all come in together.
| | 04:35 | Or if it was created in a program
like Photoshop that uses layers, you can
| | 04:39 | bring in everything separately and we can
animate this so that everything can move separately.
| | 04:48 | Okay so that's just a little lesson on
alpha channels, we're going to get a lot
| | 04:51 | deeper in the future chapters.
| | 04:53 | And of course we've been working with
graphics in this movie but of course you
| | 04:57 | can work with alpha channels
in video and animation as well.
| | 05:00 | So if you've created an alpha channel
in say, After Effects, you can certainly
| | 05:05 | bring that in and composite it
with your scene in Avid as well.
| | 05:08 | But just be aware that we have the
option of making certain layers transparent
| | 05:13 | before even bringing them into Avid.
| | 05:15 | Alpha channels can be very
powerful for us when we create composites.
| | Collapse this transcript |
| Understanding alpha channels outside of Avid| 00:00 | Okay so we've identified
what alpha channels are;
| | 00:03 | the layer that contains the transparency
information within graphics and movies
| | 00:07 | that allow us to composite
different video layers together.
| | 00:10 | In this movie, we'll explore how to
create alpha channels outside of Avid using
| | 00:14 | some of the most common
graphics creation programs:
| | 00:17 | Adobe Photoshop and Adobe After Effects.
| | 00:20 | So I'm in Photoshop right now, and
I have a graphic.
| | 00:24 | And it's comprised of three layers, and we
have a transparent background.
| | 00:29 | So it's ready to go, right?
| | 00:31 | Well, not exactly.
| | 00:32 | A lot of people do think that
transparent background in Photoshop translates to
| | 00:36 | a transparent background outside of Photoshop.
| | 00:39 | But that's not true.
| | 00:40 | If I come up to File > Save As,
| | 00:44 | you can see that Alpha Channels is one
of the options, but right now it's grayed
| | 00:47 | out and I can't check it.
| | 00:50 | So we need to add an alpha channel.
| | 00:52 | To do that I'm going to come over to Channels,
| | 00:54 | then I'm going to come down
to Create New Channel, and I will
| | 00:57 | press that button, and by
default it is an alpha channel.
| | 01:00 | I'm go ahead and just select all of
them to be viewable and I still have my
| | 01:06 | three layers but right now
I have an alpha channel.
| | 01:09 | Now it is tinted pink to let me
know that an alpha channel exists.
| | 01:12 | And if I come up to File now, and
Save As, Alpha Channel is not grayed out
| | 01:18 | anymore and I can check it.
| | 01:20 | So I'm just going to save this as, with
alpha, so I can save it in the same folder.
| | 01:27 | And we want to keep it as a Photoshop
document so that we can retain the layers
| | 01:31 | when we bring it into Media Composer.
| | 01:33 | And I'll just Save that, and let's
go ahead and hide Photoshop.
| | 01:40 | And I'm just going to take a
look at that graphic, with alpha.
| | 01:45 | Let's take a look at it in preview.
| | 01:50 | So this light gray background
indicates that we do have an alpha channel.
| | 01:55 | So when I bring this into Media Composer, I'm
just going to right-click and choose Import.
| | 02:03 | And we just want to make sure that
we are bringing in the alpha channel.
| | 02:06 | We'll go through these rules in
much more detail in the next movie,
| | 02:09 | but we're good to go and let's go ahead
and grab that graphic, with alpha, and Open.
| | 02:18 | We want to bring it in as
a Sequence of Layers.
| | 02:21 | And here are the various
layers of the alpha channel.
| | 02:25 | And here is the entire sequence edited together.
| | 02:28 | And we can't see the whole thing,
because we're not monitoring on V3.
| | 02:33 | But just to prove to you that we can
see it over the stars, I'm just going to
| | 02:36 | load this into the source monitor, and we
want to edit this over our stars.
| | 02:42 | So just add a couple more video tracks.
| | 02:46 | And I'm going to patch V1 to
V2, V2 to V3, and V3 to V4.
| | 02:52 | And let's just quickly edit in, out.
| | 02:56 | And I'm going to press B to
overwrite, and here we go.
| | 03:00 | So we have an alpha channel,
everything looks great.
| | 03:03 | That's Photoshop, now I'm
going to head into After Effects.
| | 03:07 | And I have here just a short little
title sequence here where we have
| | 03:14 | these kind of blue clouds floating in
and out, and I want that to go over the
| | 03:17 | star background as well.
| | 03:19 | Now, we do have our transparent
background here as indicated by the checker
| | 03:23 | boards, but just like in Photoshop,
we don't have an alpha channel yet.
| | 03:27 | What we have to do, is go to Composition,
and we need to Add this to our Render Queue.
| | 03:34 | And I'm going to close this one because
this is the one we're working with.
| | 03:37 | And you need to check all
of your settings of course,
| | 03:40 | but the place where we check the
alpha channel is under Output Module.
| | 03:45 | And I'm going to click right
here where it says Lossless,
| | 03:49 | and we want to come to Channels and right
now we just have RGB and that's the default.
| | 03:55 | We want to change this to RGB + Alpha.
| | 03:59 | I'm going to go ahead and choose this, and this
little plus that appears here is the alpha channel.
| | 04:05 | So we're good to go here and I need
to actually set my output destination.
| | 04:11 | So I'm going to go ahead and just send this
to my Desktop, and Nova Spacelines Title,
| | 04:20 | Save, and let's go ahead and render it.
| | 04:21 | That's going to take just a little bit,
but I'll catch you on the flip side when
| | 04:25 | we open up Media Composer.
| | 04:30 | Okay, so here's our movie.
| | 04:32 | Let's go ahead and open up Media Composer.
| | 04:34 | And we want to just right-click
in our bin here, and choose Import.
| | 04:40 | And we want to choose Options,
| | 04:42 | and we want to make sure the
alpha channel is coming in correctly.
| | 04:44 | It's inverted on import which is correct.
| | 04:47 | And we did size it correctly, so
we're good to go, let's click OK.
| | 04:51 | And our movie is on the Desktop, so let's
go ahead and choose that, and click Open.
| | 05:00 | And as you can see here,
it's creating QuickTime media.
| | 05:03 | It will take just a little bit.
| | 05:05 | And here it is creating the alpha data.
| | 05:08 | Okay, here it is in our bin.
| | 05:09 | You can see that it's a Matte Key.
| | 05:11 | And if we load it you can see
that we have our clouds and text,
| | 05:15 | you can't really tell much right now
because it's not positioned over something.
| | 05:19 | So let's go ahead and do that.
| | 05:20 | Let's go ahead and patch V1 to V2, and
just press B to overwrite.
| | 05:25 | And here you can see that everything is
positioned with the stars in the background.
| | 05:31 | So you can see the alpha
channel is working great!
| | 05:34 | So, as you can see, transparency
information in the form of alpha channels
| | 05:38 | within imported graphics and movies is
absolutely essential when compositing in Avid.
| | 05:43 | And knowing how to create
these correctly is also a must.
| | 05:47 | So use these tools to your advantage
whenever you're layering video in Avid.
| | Collapse this transcript |
| Importing graphics properly| 00:00 | So once you're at the point where
you're ready to import your graphic or movie,
| | 00:03 | it's as simple as one,
two, three, right?
| | 00:05 | Well, not exactly.
| | 00:07 | There are some important importing
rules you'll need to follow to make sure the
| | 00:11 | file is brought in at the right size,
the right aspect ratio, and that it
| | 00:15 | respects the correct
guidelines for handling alpha channels.
| | 00:18 | It might sound confusing at first
but I'll do my best to break it down as
| | 00:21 | simply as possible.
| | 00:23 | So have you ever been working in an
editing or graphics program and seen an
| | 00:26 | image that looks like this, way too
stretched and squeezed.
| | 00:30 | Or like this, something that should be the size of a
logo but stretched the size of the frame.
| | 00:36 | Or like this, where you're expecting
an alpha channel and you just can't
| | 00:40 | see the background layer.
| | 00:41 | Well this happens a lot because the
rules for importing are not as simple as
| | 00:46 | you might think, but let's go
over them and try to break it down.
| | 00:49 | I'm going to right-click
in my bin and choose Import.
| | 00:53 | And here's where we choose the location
for where we're importing files from.
| | 00:57 | But the most important button on this
entire screen, in my opinion, is Options.
| | 01:02 | And this is where we choose
how the file is brought in.
| | 01:06 | So let's first touch on Image Size Adjustment.
| | 01:10 | This is where you control the size and
aspect ratio of the image that you're importing.
| | 01:14 | If we look at option number one, this is
indicating that the image is sized correctly.
| | 01:19 | So you've done your homework, you've
sized the image in another program, and
| | 01:24 | it's ready to come in.
| | 01:25 | If it's not sized correctly, then you
end up with something very stretched and
| | 01:29 | squeezed because Media
Composer sort of makes it fit.
| | 01:33 | So if everything is good to go, choose this,
| | 01:35 | otherwise most of the time what you want to
choose is Resize image to fit format raster.
| | 01:40 | This is going to keep it its same
shape, but it going to either scale it
| | 01:45 | vertically if it's a taller image,
or horizontally if it's a wider image.
| | 01:51 | So, I'm going to choose this option here.
| | 01:54 | And we're going to ignore the
rest of the options for right now.
| | 01:57 | I'm going to say OK.
| | 01:58 | I'm going to bring in my Earth
graphic with that option instead.
| | 02:03 | So I'm going to click Open, and let's
go ahead and load this one.
| | 02:07 | You can see that this looks just fine.
| | 02:09 | Again, this one ended up stretched and
squeezed because we accidentally chose
| | 02:15 | that first option, image
size correctly for import.
| | 02:18 | It obviously wasn't,
because it's more of a square.
| | 02:21 | So what we wanted to do was choose option
number four, Resize image to fit format raster.
| | 02:26 | And it looks great.
| | 02:28 | Let's go ahead and look at another scenario.
| | 02:30 | And go Import, and Options.
| | 02:34 | Now, number three, Do not resize smaller images,
| | 02:38 | if you have a smaller image, for example,
a logo, or a bug, and you want to put
| | 02:42 | it in, for example, and you want to
put it in the lower right-hand corner of
| | 02:46 | your video frame, you want to make sure
that you choose, Do not resize smaller
| | 02:51 | images, because otherwise, for number one
or number four, it's going to scale it up,
| | 02:56 | and either stretch and squeeze it to fit
the frame, or it's going to keep it the
| | 03:01 | same shape, but it's
still going to fill the frame.
| | 03:04 | So when we do not resize smaller images,
we're going to get the small image we desire.
| | 03:09 | I'm going to click on number
three then, and choose OK.
| | 03:12 | And I'm going to go into spaceship logo, and there's my logo.
| | 03:17 | It's just that little
logo of the spaceship there.
| | 03:20 | And I'm going to click Open, and let's
see how this looks.
| | 03:24 | Okay, so there's our little logo.
| | 03:26 | We can apply a 3D Warp on it and
put it in the lower right-hand corner.
| | 03:30 | It's not resized to
dramatic proportions. All right,
| | 03:32 | I'm going to go back into my
Import dialog box, and Options,
| | 03:38 | and I want to go over just
one more thing here.
| | 03:41 | So, we already know what number one is,
this is if you've done your homework and
| | 03:45 | it's good to go, choose this, if not, you want
to choose this so that it resizes.
| | 03:49 | Otherwise, if you want to bring in
smaller images, you want to choose number three.
| | 03:53 | And number two is seldom used.
| | 03:55 | Basically there's a six line difference
between standard definition footage and DV footage.
| | 04:01 | It's either 720x486 for standard
def, or 720x480 for DV footage.
| | 04:07 | And it either crops or pads the missing lines.
| | 04:10 | So again, not very often used, but
it is there if you should need it.
| | 04:15 | The other really important set of
options in this window, in my opinion, is
| | 04:19 | the Alpha Channel box.
| | 04:21 | Now we already kind of talked about this,
but if you don't have an alpha channel
| | 04:24 | you don't have to worry about it.
| | 04:25 | You just select Ignore.
| | 04:27 | If you have an alpha channel, and it
was created in a program outside of Avid;
| | 04:31 | so After Effects or Photoshop, or basically
anything else, you're going to Invert on import.
| | 04:38 | Now Avid has different rules, so if it
was created in Avid you do not invert.
| | 04:43 | So 99 percent of the time you're going to choose
Invert on import if you have an alpha channel.
| | 04:48 | So let's go ahead and choose Invert on import,
and try bringing in our graphic of Saturn again.
| | 04:53 | I'm going to go ahead into Mattes and Composites,
| | 04:58 | planets with alphas and my Saturn graphic, Open,
and it's creating my alpha media right now.
| | 05:08 | Okay, and just to make sure.
| | 05:13 | And you can see that it
composites nicely in the background.
| | 05:17 | Okay, I'm just going to head into my Import
dialog box just one more time, and Import
| | 05:23 | and Options.
| | 05:25 | And I just want to briefly
hit on these other options.
| | 05:28 | So again, size and aspect ratio and
alpha channels are very, very important.
| | 05:32 | So just to hit on this very briefly.
| | 05:34 | Most images you'll bring in with Computer RGB,
| | 05:37 | but if you're bringing in some test
patterns like color bars, you want to make
| | 05:41 | sure to choose 601 SD or 709 HD.
| | 05:44 | Now if you bring in a graphic or
movie file with Computer RGB, and you
| | 05:49 | notice some unattractive banding across gradients,
you know, colors kind of clump together,
| | 05:54 | then you can choose this
one, dither image colors.
| | 05:58 | That's the only time you should
really choose the second option.
| | 06:01 | Otherwise, you're going to choose number one.
| | 06:03 | Here we have the Frame Import
Duration, so it's set at 30.
| | 06:06 | You can change that.
| | 06:07 | Here if you create an animation in a
program like After Effects, and you have
| | 06:11 | sequentially numbered files, this
allows you to just select the first file, and
| | 06:16 | then when you check this box, it's
going to autodetect all subsequent files.
| | 06:20 | And then finally up here,
| | 06:22 | if you're working in non-interlaced
footage, you're going to choose Ordered
| | 06:25 | for current format.
| | 06:26 | If you're working with standard definition
interlaced footage, you want to choose Odd.
| | 06:31 | And if you're working with HD
interlaced footage, you want to choose Even.
| | 06:35 | All right, so those are the basic rules.
| | 06:37 | A lot to keep track of, but really you
have just some generally basic ways that
| | 06:42 | you're going to import.
| | 06:43 | You either have something
that was sized correctly or not.
| | 06:47 | Or you have something that you'd
like to keep small and not resize.
| | 06:51 | And you have to pay
attention to the alpha channel.
| | 06:54 | Otherwise, the rest of this stuff is a
little less important, but for example,
| | 06:58 | if you bring in some interlaced footage
and it looks jittery, just go ahead and
| | 07:01 | select the other one that you didn't choose.
| | 07:03 | So yeah, a lot to digest, but all
of these options are here for you as
| | 07:06 | you import your files.
| | Collapse this transcript |
| Importing and animating matte keys| 00:00 | So now that we, A, know what alpha
channels are, B, know how to create alpha
| | 00:05 | channels in graphic creation programs,
and C, know all the rules for importing
| | 00:10 | graphics into Avid, we're
finally ready to import.
| | 00:13 | I know there's a lot of buildup here,
but you'll be glad to have all this
| | 00:15 | preliminary knowledge so that you're
spared many of the problems that can exist
| | 00:19 | when amateurs try to work with
graphics that contain alpha channels.
| | 00:23 | What we want to do is build the
part of the scene where the spaceship
| | 00:27 | is approaching Saturn.
| | 00:29 | So I've already edited the
stars in as our background.
| | 00:33 | And we just want to import those
other two images which are matte keys.
| | 00:38 | So I'm going to right-click, and Import.
| | 00:42 | And the first one is inside the
planets with alphas folder, and it's Saturn.
| | 00:49 | So Saturn already has an alpha channel.
| | 00:51 | It's also sized correctly, so I want to
make sure that I have Image sized for
| | 00:56 | current format selected.
| | 00:58 | And I want to make sure that my
alpha channel is inverted on import.
| | 01:02 | I'm going to select OK, and
choose Open, and there we go.
| | 01:09 | We have Saturn ready to come in.
| | 01:12 | And let's go ahead and just edit
Saturn in on V3, actually, in and an out,
| | 01:21 | and I'll overwrite by pressing B.
| | 01:25 | And let's go ahead and grab our spaceship.
| | 01:27 | You have several spaceships to choose from.
| | 01:30 | I'll show you the one that I'm going to choose.
| | 01:33 | In spaceship images, I like Spaceship03, with
the flames coming out.
| | 01:39 | And I'll choose Open, and
again, this is sized correctly.
| | 01:43 | And the alpha channel is
inverted on import, OK, and Open that.
| | 01:50 | And let's go ahead and edit this one in as well.
| | 01:57 | On V4, in and an out, and overwrite. All right,
so there is everything.
| | 02:03 | It looks terrible, so let's go
in and edit this a little bit.
| | 02:07 | I'm going to to start with Saturn.
| | 02:09 | I'm going to go ahead and just monitor V3 so
I don't have to worry about V4 for right now.
| | 02:14 | And I'm going to open up the Effect
Editor, and let's go ahead and set a keyframe
| | 02:20 | at the beginning and the end.
| | 02:22 | And I'm going to select both keyframes,
Command+A, and I'm just going to size it up,
| | 02:29 | pretty significantly.
| | 02:30 | And then offset it a little bit, like so.
| | 02:35 | And then I want it to slightly move
to the left during the duration of the
| | 02:39 | effect to counteract the right
word movement of the spaceship.
| | 02:44 | So this is a fine place for it to start
on the first keyframe, and then on the
| | 02:49 | last keyframe we want to just move
it ever so slightly to the left.
| | 02:54 | Maybe not even that much. So, there we go.
| | 02:58 | We're getting some movement there.
| | 03:00 | Now let's go ahead and
take a look at the spaceship.
| | 03:03 | I'm going to go ahead and
enable that and also monitor it.
| | 03:07 | So it's headed in the wrong direction.
| | 03:09 | That's the first thing.
| | 03:09 | But the wonderful thing about matte keys
is that we can very easily rotate it as
| | 03:14 | soon as we promote it to 3D.
| | 03:17 | So it needs to go about the Y axis, so
we want to choose Y rotation, and I'm
| | 03:23 | just going to flip this to the other
direction and then Shift+Drag to constrain.
| | 03:35 | Here I should be at 180. I'll just type
it in 180, there we go.
| | 03:39 | And it needs to be a lot smaller,
obviously, so I'm going to come into Scaling,
| | 03:43 | and Fix Aspect, and just
bring the size of it way down.
| | 03:48 | And we want to start keyframing,
| | 03:51 | so I'm going to do a keyframe at the
beginning and a keyframe at the end.
| | 03:58 | And in the beginning, I'm going
to start off with it off screen.
| | 04:04 | And I'm going to just play to
see how fast this goes.
| | 04:07 | (video playing)
| | 04:11 | Okay, and so, I think that by the end of it, it
can be either off screen or almost off screen,
| | 04:21 | because we're going to intersperse some shots
of the guy on the spaceship looking at Saturn.
| | 04:25 | So this can last a little while.
| | 04:29 | It looks like we're at ten seconds, but
it's not like we're going to see it all at once.
| | 04:31 | So I will go ahead and play.
| | 04:34 | (video playing)
| | 04:38 | Okay, it's actually a little
fast for my taste, so I'm going to
| | 04:48 | just move it over just a little bit,
| | 04:53 | like so, and I think that's
more the speed that I was after.
| | 04:57 | Just to test, but to actually slow it
down I'm going to trim this out so that it
| | 05:00 | lasts just a little bit longer.
| | 05:02 | Again we won't view this entire
animation at the same time, but we at least
| | 05:06 | get the speed right.
| | 05:08 | So I'm just going to exit Effect mode
for just a bit, and I'm going to enter Trim
| | 05:12 | mode on V4, V3, and V1.
| | 05:14 | I'm just going to press U to get into trim, and
I'm just going to trim out a couple of seconds.
| | 05:22 | Okay, I'm at twelve right now.
| | 05:24 | And then let's go back into Effect mode
and make sure that we get all the way across.
| | 05:30 | We should be at a good speed now.
| | 05:35 | Okay, so right about here is when
we're going to cut to the guy on the
| | 05:39 | spaceship looking at Saturn.
| | 05:40 | There's a couple of shots of that,
| | 05:43 | and then we'll probably catch up
with this animation about right there,
| | 05:47 | and then on the way out.
| | 05:48 | So again, this is not realistic,
It's not to scale obviously, but it's a
| | 05:52 | fun little animation.
| | 05:53 | And as you can see, it's really easy
to create a world from just a couple
| | 05:57 | of still graphics.
| | Collapse this transcript |
| Creating a title sequence with matte keys| 00:00 | We've explored how to work with
matte keys to create a cohesive scene.
| | 00:04 | Now we're going to start looking at how we can
animate matte keys to create a title sequence.
| | 00:09 | Okay, so I again have my star background,
and I'm just going to kind of show you what
| | 00:16 | we're after here.
| | 00:17 | We want to have our title
sequence sort of animate in.
| | 00:22 | We're going to have a flip on the spaceship.
| | 00:24 | We're going to have this big swoop on
the word Nova and Spacelines just kind of
| | 00:29 | moves in from the foreground.
| | 00:31 | So let's go ahead and import our matte key.
| | 00:35 | Now I created the graphic in Photoshop
and it's made up of several layers and
| | 00:39 | we're going to take advantage of that.
| | 00:40 | I'm going to Import, and under Options
we want to make sure that we have sized
| | 00:47 | for current format, and invert the alpha channel.
| | 00:50 | And those are correct so I'm going to say OK.
| | 00:53 | And let's go find our graphic,
with the alpha, and open.
| | 01:01 | We do want the sequence of layers.
| | 01:03 | Here it is creating the media and the
alpha channel information, and again, we
| | 01:07 | have our three layers that we can work with,
and our sequence that it edits together.
| | 01:14 | So I'm going to load my main sequence
and I'm going to go ahead and just load
| | 01:19 | this into the source monitor and
perform a little patching here.
| | 01:23 | We're a little messed up on the order here.
| | 01:25 | You want to make sure that your monitor is on top.
| | 01:28 | So I'm just going to patch V1 to
V2, and V2 to V3, and V3 to V4,
| | 01:35 | and we've got to move the monitor up here.
| | 01:36 | So, we're good to go.
| | 01:38 | Let's go ahead and just make this edit.
| | 01:40 | I'm going to go ahead and mark
this entire segment by pressing T.
| | 01:44 | And then I'm going to overwrite
by pressing B, and here we go.
| | 01:47 | We have a static title.
| | 01:48 | Let's go ahead and add some movement to it.
| | 01:50 | You can see it's about
ten seconds long in total.
| | 01:54 | And what I'd like to do is have the
initial animation last for about the first
| | 01:59 | two to three seconds.
| | 02:00 | So let's go ahead and start on V2.
| | 02:04 | I'm going to go ahead and
move my monitor down there.
| | 02:05 | I'm going to start on
our little spaceship logo.
| | 02:08 | And we'll go ahead and just
select V2 and open up my Effect Editor.
| | 02:13 | And we want it to flip into view, which
is a Rotation perimeter so, we need to
| | 02:19 | promote this to 3D.
| | 02:21 | And let's go ahead and add our
keyframes at the beginning and end.
| | 02:25 | And right about here I'll go ahead
and add the keyframe, and the animation
| | 02:29 | should be finished by this point.
| | 02:31 | So this keyframe is fine,
this keyframe is also fine.
| | 02:35 | Let's go ahead and just
select the first keyframe.
| | 02:39 | And open up my Rotation parameter.
| | 02:42 | And if it needs to flip into
view, we need the Y rotation.
| | 02:46 | So I'm going to drag my Y parameter
to the left and then as I get close I'm
| | 02:52 | going to Shift+Drag to achieve a
very fine movement, and let go.
| | 02:57 | And now we should be rotating into place.
| | 03:01 | Looks fine, go ahead and play it. Okay.
| | 03:05 | So while that's going on we're going to
have the swooping Nova and Spacelines as well.
| | 03:11 | So let's move the monitor up to V3 and select
it, and go ahead and click on it in the timeline.
| | 03:18 | And we're also going to need
to promote this to 3D as well.
| | 03:21 | So I'm going to come down, promote to 3D.
| | 03:25 | And let's go ahead and add a keyframe at
the very beginning and end, just like always.
| | 03:30 | And I also want to add one right about
here, as soon as that flip is done.
| | 03:35 | So I'm going to ahead and just add
one right there and then we want to
| | 03:40 | manipulate the first one.
| | 03:41 | Now for this, we're going to use
something called Perspective.
| | 03:47 | Watch what happens as I drag
the Z Perspective to the left.
| | 03:52 | It's going to come towards us, come
towards us, it's going to flip around and then
| | 03:56 | go all the way in the background to invisible.
| | 04:00 | And, so let's go ahead and take a look at it.
| | 04:03 | And, all right, pretty good. Everything
is timed pretty well, I'm going to go ahead
| | 04:08 | and just press play.
| | 04:09 | (video playing)
| | 04:16 | All right, we might want to tweak
the timing a little bit later,
| | 04:19 | but the basic movement is just fine.
| | 04:22 | Okay, so now let's move up to V4, and
select V4, select it in the timeline.
| | 04:29 | And for this we also need to promote to
3D, we also need to set our keyframes.
| | 04:38 | And we want to set another
keyframe right about here.
| | 04:45 | Okay, and again we're going to
select the first keyframe.
| | 04:48 | And for this, we want to examine
Position, but we want it to come from the
| | 04:55 | foreground and then slide into the background.
| | 04:58 | So, it's going to be Z position.
| | 05:01 | As I drag Z to the right, notice
how it approaches us and then sort of
| | 05:06 | disappears, and now when I scrub from left
to right, everything is happening at once.
| | 05:15 | And I'm also going to
enable the Trail parameter,
| | 05:21 | and I'm going to go ahead and play.
| | 05:23 | (video playing)
| | 05:28 | Okay, so everything is working together.
| | 05:30 | We will just need to cut this in at the
beginning of our sequence with a little
| | 05:33 | music, and I think it'll be
a great start to our promo.
| | Collapse this transcript |
|
|
5. Using the Paint EffectChanging colors of objects with the Paint effect| 00:00 | The Paint effect allows you to draw
shapes within layers of video to alter the
| | 00:05 | pixels within that shape in some way.
| | 00:07 | Whether it be to change chroma or luma
levels, add a blur, or perform clones
| | 00:12 | or scratch removals.
| | 00:13 | In this movie we'll take a look at some of
the various ways you can use the Paint effect.
| | 00:18 | Okay, so I have my spaceship scene and I'd
like to add a little bit more color to it.
| | 00:23 | I want to maybe change the
color of the spaceship here.
| | 00:27 | So, I'm going to go into the Effect
palette, and in the Image category I see the
| | 00:32 | Paint Effect, and I can Option+Drag or
Alt+Drag on a PC, that effect on top.
| | 00:39 | And let's go ahead and
open up the Effect Editor.
| | 00:42 | And this looks a lot like the AniMatte effect.
| | 00:45 | We have the same Shape Creation
tools over here on the right.
| | 00:49 | So we have the Rectangle tool, the Oval tool.
| | 00:53 | We have the Polygon tool.
| | 00:55 | We have the Freeform Curve
tool, and then the Brush tool.
| | 00:59 | So since this is a little bit of an
interesting shape, I think the Polygon tool
| | 01:03 | would be the best choice.
| | 01:05 | And I'm going to just click and
release, click and release, to form
| | 01:10 | sharp edges, and I also have the option of
clicking and dragging to make Bezier curves.
| | 01:17 | So, I'm just going to drag all
the way around in the shape here.
| | 01:23 | And here we have a bright red shape.
| | 01:25 | It doesn't look that great, but we
will change that to something else.
| | 01:29 | But right now what we want to do is
actually just animate it to go across and
| | 01:35 | follow the spaceship.
| | 01:37 | So I'm just going to put a keyframe right as soon
as the spaceship enters the frame, right here,
| | 01:46 | and sort of match it up.
| | 01:49 | And then on the first one I need
it completely out of the frame.
| | 01:54 | And then, I'm going to put another keyframe
here, and match it up, and we just want
| | 02:00 | to make sure that it follows it
perfectly across, which it does.
| | 02:05 | And I'm going to put another
keyframe here, and align it just so.
| | 02:12 | And then we need to make sure it's all the way
off the screen in the very end. Okay, looks good.
| | 02:19 | So, we want to change this from
being bright red to maybe an icy blue.
| | 02:26 | I'm going to go ahead and just select all my
keyframes, Command+A or Ctrl+A on a PC,
| | 02:32 | and everything is good to go.
| | 02:34 | My shape is selected.
| | 02:35 | My keyframes are selected.
| | 02:37 | I'm going to change it from Solid to
Colorize, and that kind of puts a tint on it.
| | 02:45 | And my solid color was red,
| | 02:48 | so now my colorize is red. I'm going to go ahead
and just click on this button right here
| | 02:52 | and my color wheel will open up, and I'm going to
pick a nice icy blue color, and then I'm
| | 02:57 | going to say OK, and it looks a little
saturated to me, so I'm going to just bring
| | 03:04 | the opacity down, just a bit.
| | 03:09 | And I'm going to play to make sure this looks okay.
| | 03:14 | And it looks pretty good.
| | 03:15 | What I want to do is actually add some
Feathering so that I can soften that
| | 03:19 | edge just a little bit.
| | 03:21 | Feathering is right here and I'm
just going to increase my Horizontal and
| | 03:25 | Vertical parameters and
decrease my Bias just a little bit.
| | 03:29 | And let's just take a look at that. Okay.
| | 03:32 | The Feathering actually gave me a
little glow which I kinda like, and I think
| | 03:37 | it's looking pretty good.
| | 03:39 | Now I can actually change this to
really anything and you can totally
| | 03:44 | experiment yourself with all
of the various Mode choices.
| | 03:48 | I do want to show you one more thing
and it involves making another shape and
| | 03:53 | using something called Magic Mask to
just color one thing and not the background.
| | 04:01 | So for example, I want to put like a
reddish tint on the planet here, and make
| | 04:07 | sure that I don't get the tint
on the stars in the background.
| | 04:10 | So what I'm going to do is just draw a
shape around the planet, and I'm going to use my
| | 04:17 | Freeform Curve tool, and I'm just
going to follow it along like so.
| | 04:29 | And as you can see, if I put a colorize
over everything, it of course colors the
| | 04:33 | sky, but if you just take this and move
it to Outline so that you can basically
| | 04:39 | just see right through it.
| | 04:40 | I'm going to come to Magic Mask,
| | 04:43 | and I'm going to sample the color of the planet.
| | 04:47 | I'm going to click in here,
| | 04:49 | and then just sample this
color here, of the planet.
| | 04:52 | And because the rings have the same
basic hue, I think we'll have success with
| | 04:56 | coloring just the planet and the rings.
| | 04:58 | Then I can come into Mode, and
I'm going to colorize this as well.
| | 05:04 | And you can see that it just
colored the planet and the rings.
| | 05:07 | And we want it to be just
slightly pinkish.
| | 05:13 | Like so, okay, very good.
| | 05:16 | Now as I drag this through, you see
that I have a little bit of a problem.
| | 05:22 | My spaceship gets a little pink too.
| | 05:24 | Well, no worries, I'm just going to
come over to my Effect Editor and I have a
| | 05:29 | Bring Forward and Send to Back button.
| | 05:32 | I'm just going to send this
shape to the back, and now
| | 05:37 | we should be in business.
| | 05:38 | My blue spaceship is now
traveling over my pink planet.
| | 05:43 | And I'm just going to click
out here in the gray area
| | 05:45 | and give it a little bit of
a play, so we can see.
| | 05:47 | (video playing)
| | 05:52 | Okay, so there you have it.
| | 05:54 | We've animated a paint shape to follow
our spaceship, we've applied a Magic Mask
| | 06:00 | over our planet, and we've changed the
order of the shape so that everything is
| | 06:05 | cohesive and works together.
| | 06:07 | And we've brightened up our scene
and made it a little bit more colorful.
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| Writing words onscreen with the Brush tool| 00:00 | There are four Shape tools in the
Paint Effect that work very similarly: the
| | 00:04 | Rectangle tool, the Oval tool, the
Polygon tool, and the Curve tool.
| | 00:09 | However there's one more tool you can
use that doesn't draw shapes, but rather
| | 00:12 | defines brush strokes and paths.
| | 00:14 | Let's take a look at the Brush tool.
| | 00:17 | Okay, so I have my star background again
and I want to write the word Nova across this,
| | 00:24 | I want it to gradually just write on.
| | 00:27 | So I can do that in the Paint Effect.
| | 00:28 | I'm going to go ahead and open up my
Effect palette, Image > Paint, and drag it on.
| | 00:35 | And, open up the Effect Editor.
| | 00:37 | And I'm going to click on my Brush Tool button.
| | 00:40 | If you can't see these parameters twirl it down.
| | 00:43 | And inside Brush I have Path, Soft and Size,
| | 00:47 | and you can see that I can
basically customize how it looks;
| | 00:51 | diamond shape, circle, we
can have various points here.
| | 00:56 | So I'm going to choose this
circle, and a little bit smaller.
| | 01:01 | I need to make sure my entire word is
connected if I want it to write on over time.
| | 01:06 | So I'm going to need to do this in cursive.
| | 01:11 | Not the best, but it'll do.
| | 01:13 | So right now it's on screen for the entire time.
| | 01:16 | If we want it to write on, I need to
select my first keyframe, also select the shape.
| | 01:22 | I'm going to go with my Selection
tool and select the shape.
| | 01:26 | And with my first keyframe selected, I
just drag my Path parameter down to 0.
| | 01:34 | And now, it should write on
over the duration of the clip.
| | 01:42 | I think it's going a little slow, so
I'm just going to come out of Effect mode
| | 01:47 | and I'm going to trim this up.
| | 01:50 | So I'm just going to enter Trim mode
and trim it up, and now it's going to take
| | 01:55 | place over 6 seconds instead.
| | 01:58 | We should go considerably faster here.
| | 02:03 | So if I come in here I can
change the Mode to whatever I want.
| | 02:07 | So I'm just going to select the
shape, and under Mode I can choose--
| | 02:13 | we did colorize a few times in the
previous movie, I'll choose Emboss.
| | 02:19 | So I'll go ahead and select this.
| | 02:23 | And I actually accidentally created a
new keyframe, I'm going to delete that just
| | 02:29 | so I don't run into any trouble.
| | 02:31 | And now, you can kind of see the
stars pass over, which is kind of neat.
| | 02:36 | I'm going to undo and go back to solid.
| | 02:41 | And again, I'm going to delete that
keyframe I accidentally created, and let's
| | 02:45 | go ahead and--actually I
will keep that keyframe.
| | 02:48 | I'll add a couple of them.
| | 02:50 | And let's just change the
color over time as well.
| | 02:55 | So, I'm just going to select the shape,
and select this keyframe, the second one.
| | 03:02 | And we'll move the color
from red to yellow, and OK.
| | 03:08 | So it starts off, it's going through
the spectrum, and then it's going back to
| | 03:12 | red, except I'm going to just make
sure that this is green, and then maybe blue.
| | 03:25 | So now we should go through the
entire spectrum all the way to blue.
| | 03:33 | So that looks nice.
| | 03:35 | And I just want to show you what
happens if you don't connect your letters
| | 03:38 | with the Brush tool.
| | 03:39 | I'm going to just make another Brush shape.
| | 03:45 | And this time I'm just going to
write the word Nova, like so, just print it.
| | 03:58 | And then, we select our shape, I'm
going to go ahead and select all my keyframes.
| | 04:05 | And want to deselect that
shape and just select this one.
| | 04:10 | Now if I select my first
keyframe here, I have my shape selected,
| | 04:14 | my first keyframe, and I move
my Path to 0.
| | 04:18 | Notice how each one of the letters
now is going to form over time.
| | 04:24 | So if I get all of that, and it basically
formed from here to there, because I
| | 04:31 | have just one set of keyframes.
| | 04:34 | So, as you can see, the Brush tool is
a great way for you to write on various
| | 04:38 | shapes and patterns.
| | 04:40 | Don't mistake it for a typical Shape
Creation tool, because using the Brush tool
| | 04:44 | will not allow you to close
shapes in the typical way,
| | 04:46 | so be careful the way you use it.
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| Cloning and tracking objects in a scene| 00:00 | The Clone parameter within the Paint
Effect allows you to draw shapes in your
| | 00:04 | video and then clone areas
to be pasted in other areas.
| | 00:08 | I think it's one of the most
useful tools within the Paint Effect.
| | 00:12 | So we have a rocket blasting off here and
I would like to have two rockets blasting off.
| | 00:19 | So I want to basically take all of the
pixels in here and copy them over here.
| | 00:25 | And I can do that with the Clone
parameter within the Paint Effect.
| | 00:28 | So I'm going to go over to the Effect palette,
| | 00:31 | Image > Paint Effect, and drag it on.
| | 00:36 | And let's go ahead and draw a shape
around our rocket with the Polygon tool.
| | 00:44 | And what I'm going to do is actually track that.
| | 00:47 | We examined tracking in the AniMatte
chapter, and you can do it within the
| | 00:51 | Paint Effect as well.
| | 00:53 | So I'm going to turn on the Tracking tool.
| | 00:56 | And we want to track the rocket.
| | 00:58 | Again, you want to put it on an area
of high contrast so it can grab on.
| | 01:02 | And let's go ahead and start the tracker.
| | 01:07 | So you want that yellow cross to stay
in the same area, so that we can attach
| | 01:12 | our paint shape to that, because right now
it's creating very important tracking data.
| | 01:18 | And we're going to be able to very
easily just make our paint shape go right
| | 01:24 | where that tracking data says to go.
| | 01:26 | Okay, so it looks like a little yellow blob
but it's actually very important, all
| | 01:31 | of that tracking data.
| | 01:33 | So I want to select my shape, and
then twirl down my Tracking parameter, and
| | 01:42 | select the first tracker.
| | 01:44 | Again, you can put up to four
trackers on the same object.
| | 01:48 | And let's just see how it did.
| | 01:50 | (video playing)
| | 01:58 | It's keeping up with it fairly well,
but we just need to kind of change the
| | 02:02 | shape of it at the very end.
| | 02:08 | And I'm going to double-click inside
of here to get some reshaping tools.
| | 02:16 | And it's hard to see, so I'm going to
change my Mode from Solid to Outline, and see
| | 02:22 | my rocket a little bit better.
| | 02:26 | So, let's see if it stays with it.
| | 02:27 | So, that works out pretty well. Very good!
| | 02:32 | So now that I have tracked my rocket, I
want to put another one right next to it.
| | 02:40 | So I'm going to select both keyframes,
and I am going to change my Mode to Clone.
| | 02:49 | And then all I'm going to do
is move it over to the right.
| | 02:54 | I'm going to double-click to get my
tool that I can move with, and here we go!
| | 03:02 | So we should have two
side-by-side rockets now,
| | 03:06 | and let's see how it looks.
| | 03:08 | (video playing)
| | 03:16 | All right. Pretty good!
| | 03:20 | Now I think I neglected to put some
Feathering on those two shapes, but it
| | 03:25 | actually looks pretty decent.
| | 03:27 | And I think we've got our side by
side twin rocket ships, thanks to Clone.
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| Removing scratches and video artifacts with the Scratch Removal feature| 00:00 | In the last movie we learned how we you
can copy and paste pixels from one area
| | 00:04 | of the video frame to another using Clone mode.
| | 00:08 | In this movie we'll explore Scratch
Removal, which allows you to copy and paste
| | 00:12 | pixels from one frame of video to another.
| | 00:15 | And this way you're borrowing image
information from one point in time to another.
| | 00:20 | Now as you're probably aware, video
travels at many frames per second.
| | 00:23 | In the United States, usually either 30
frames per second, or 24 frames per second.
| | 00:28 | Now let's say there's a frame or two of
video that has something wrong with it;
| | 00:32 | a scratch, or a video hit.
| | 00:34 | Well because not every frame of
video is affected, you have the option of
| | 00:38 | borrowing information from an
adjacent frame to fill in the damaged pixels
| | 00:43 | of the affected frame. Let's take a look.
| | 00:46 | So we are departing from our
space theme just temporarily
| | 00:50 | to take a look at just a boring old office.
| | 00:53 | But it does have this awful
video hit which we want to fix.
| | 00:57 | And we're going to fix
it using the Paint Effect.
| | 01:00 | Now what you need to do is put Add
Edits on either side of the video hit and
| | 01:08 | also include one good frame.
| | 01:10 | So here is a bad frame, here's a bad
frame, and then on that side of it it's good.
| | 01:16 | And then on this side of it, it's good.
| | 01:19 | So, I'm going to add an edit right here.
| | 01:23 | And then I'm going to include the bad
frame, the next bad frame, and then I'm
| | 01:29 | going to create another Add Edit.
| | 01:32 | Okay, so we have a three frame little
segment here, and I want to show you what you
| | 01:38 | can do, and then I'm going to remove
it and then show you something else.
| | 01:42 | If I go into the Image
category and apply the Paint Effect,
| | 01:49 | and enter Effect Mode,
| | 01:52 | you can see that one of the mode
selections is Scratch Removal, and I can
| | 01:57 | certainly choose that, and then
I'm going to draw a shape.
| | 02:02 | Basically for Scratch Removal, if it's
over the entire frame like this, you just
| | 02:07 | want to draw a big square over the entire shape.
| | 02:12 | And by default, it takes the good
information from the very start of the segment.
| | 02:19 | So that's why I say include
a good frame in the segment.
| | 02:23 | Because right now, if I twirl this down, I
am taking the good frame from the start.
| | 02:29 | Now you can also take it from the end, or
you can take it relative to where you are,
| | 02:33 | and then move the Frame parameter back
and forth, but if you include one good
| | 02:37 | frame at the very beginning we should be good.
| | 02:40 | And now we need to render it.
| | 02:42 | You can see it's a blue dot effect.
| | 02:43 | So it does need to be rendered.
| | 02:45 | I'm going to just go ahead and
do that right here, and OK,
| | 02:50 | and if we play it through now, we should
| | 02:54 | have eliminated our scratch because it borrowed
the information from this frame right here.
| | 03:02 | Now, I'm going to undo this, and also in
the Image category you can see that there
| | 03:07 | is an entire effect called Scratch Removal.
| | 03:11 | So, this is just a subset of Paint.
| | 03:14 | Again, you can just drag it on.
| | 03:15 | You do need to set your Add Edits on
either side, and also include a good frame.
| | 03:20 | And I'm going to go into Effect mode.
| | 03:24 | Again, you have to draw a
shape around the problematic area,
| | 03:28 | and it automatically
takes it from the first frame.
| | 03:32 | You can see here from start, and so we're
going to leave it like that, but same exact thing.
| | 03:38 | I can either apply it from Paint, or I
can apply it from the Scratch Removal
| | 03:43 | effect that exists on its own.
| | 03:46 | As you can see, the Scratch Removal
effect allows you incredible versatility,
| | 03:51 | through not only working within each
individual frame, but also working through
| | 03:55 | time, and working through multiple
frames to achieve a more perfect product.
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6. Putting It All TogetherEditing together the composite scene| 00:00 | If you followed me throughout this
course, you've learned all of the techniques
| | 00:03 | necessary to put together our spaceship scene.
| | 00:07 | In fact, we've done most of it together already.
| | 00:09 | If we start here at the beginning, we
have used matte keys to produce a 3D
| | 00:14 | animation of our title sequence.
| | 00:17 | And the one thing we didn't do was
just add this little blue sparkle.
| | 00:21 | So this is just a paint shape,
| | 00:23 | just a solid paint shape that I have
bumped up the Feathering and bumped
| | 00:27 | down the Opacity for.
| | 00:28 | And I've animated it across the screen,
and just increased the size and
| | 00:32 | opacity there at the end.
| | 00:34 | So that should be fairly
easy for you to accomplish.
| | 00:37 | And then we have our
composite of our space scene.
| | 00:41 | Again, we did all of this together.
| | 00:44 | We have the spaceship and the Saturn
matte keys composited and animated over
| | 00:50 | our star background.
| | 00:52 | Now, I did completely stop the motion
of the stars using a Time Warp effect,
| | 00:58 | which you can find in the Time Warp
category within the Effect palate,
| | 01:01 | but otherwise, you've completed this.
| | 01:04 | And then again, at the very end,
you have both sections of that.
| | 01:08 | Interspersed within our
space scene are our chroma key clips.
| | 01:11 | We have two of them, one with the
subject looking out the window and we've
| | 01:15 | done this together.
| | 01:16 | He's looking at Saturn.
| | 01:17 | So Saturn is our background
and here's our foreground.
| | 01:21 | Fairly easy to do there, and
here it's a little bit more complicated.
| | 01:25 | We have a subject looking out the window.
| | 01:28 | So we have a background
of a gradient behind him.
| | 01:31 | We have our subject.
| | 01:32 | We also have the foreground of the ship.
| | 01:34 | And then two more things that I did,
that you can certainly do as well,
| | 01:38 | is I put a reflection on this window here,
| | 01:41 | and this window here.
| | 01:42 | And basically all I did was
crop two images of Saturn,
| | 01:46 | bump down the opacity considerably,
| | 01:48 | and then crop it to form over the windows.
| | 01:51 | And again, remember we flipped it and
animated it so that it makes sense
| | 01:55 | spatially between these two shots.
| | 01:58 | And then the only thing we didn't do
together is this final part, and this is
| | 02:02 | just a matte key. I have provided it for you.
| | 02:05 | It's in the exercise files.
| | 02:07 | And to make sure that we can see the
video through the matte key, you're just
| | 02:11 | going to need to invert the key.
| | 02:14 | Now, we also have a considerable soundscape.
| | 02:18 | You have a lot of audio tracks, and I
provided you lots of different audio clips.
| | 02:23 | It's in the Audio folder
in your Source Material.
| | 02:26 | And you can check all of that out
to produce your own soundtrack for
| | 02:30 | your spaceship promo.
| | 02:32 | So take your time with the master
sequence, and have fun putting it
| | 02:35 | all together.
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ConclusionNext steps| 00:00 | Now that you've completed this course
you should have all the tools you need to
| | 00:04 | create cohesive composites of
scenes from many unrelated parts.
| | 00:09 | As you keep practicing you may run into
a few snags here and there, especially if
| | 00:12 | you start to build many, many video layers.
| | 00:15 | If the answer to your issues isn't
contained in this course I encourage you to
| | 00:19 | hit up the Avid support and Avid
community's web pages, which contain tutorials,
| | 00:23 | knowledge-bases, and user forums, full
of people who can answer your questions.
| | 00:28 | And if you need help on anything else Avid
related, I encourage you to check out my
| | 00:32 | other Avid courses on lynda.com;
| | 00:34 | including Avid Media
Composer 6 Essential Training.
| | 00:37 | Good luck as you embark on an
exciting world of compositing.
| | 00:41 | It really is so fun to watch
worlds form in front of you.
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