| 00:03 | Now let's work with some clips that
were shot very nicely, but which we'd like
|
| 00:06 | to add even more excitement too.
Here's a clip of a businesswoman slowly
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| 00:10 | turning around while removing her
glasses. Someone did a nice job composing this.
|
| 00:14 | They have a nice blurred out
background. They have her in silhouette
|
| 00:18 | against the background.
|
| 00:20 | But there is just not a lot going on in
here, there is no light change going on
|
| 00:24 | in the background, and frankly her
face is a little underlit for my taste.
|
| 00:27 | So let's see what we can do with the
scene. Go back to home. Let's try this
|
| 00:32 | lighting clip. This is a nice bit of
cloudy footage slowly moving. It has a nice
|
| 00:37 | center focus with darkened edges.
This looks like a good candidate.
|
| 00:41 | I will right-click, choose Composite
Mode, and we'll start off with Overlay mode.
|
| 00:46 | Now we've got some more color
going on. This was before and after.
|
| 00:52 | So if nothing else, the color in my
lighting clip has made this scene look richer.
|
| 00:55 | I'm at Home, let's Play. Now I've got
some animation, there is something subtle
|
| 01:01 | going on in the background. We
haven't changed the basic character of this clip.
|
| 01:06 | We've just enhanced it by animating
the lights rather than the lights being static.
|
| 01:10 | Let's try another idea.
|
| 01:12 | Now here's another clip that is
basically the same as the previous clip, cloudy
|
| 01:17 | footage, blue, out of focus, but
you'll notice this orientation is quite
|
| 01:21 | different. It's bright in the corner;
it's dark in the upper corner. It has
|
| 01:26 | this kind of a diagonal orientation to
it. But our underlying footage was very vertical.
|
| 01:30 | She is in the middle, vertical
bright parts in either side. These two
|
| 01:34 | clips don't really match in their composition.
|
| 01:37 | Let's put it in Overlay mode and I'll just
show you how this works. Overlay, Home,
|
| 01:43 | and Play, and you'll see what my
problem is here. I'm very dark. I have not
|
| 01:48 | enhanced her. But meanwhile, I've
got too interesting of a corner happening
|
| 01:53 | down here in the lower right. My
lighting footage is adding lighting in the
|
| 01:58 | wrong place. It's moving my focal
point away from her. It just doesn't work.
|
| 02:03 | That's why the selection is so important.
|
| 02:05 | Let's try another lighting idea. This
is a fun clip. It has lights streaming
|
| 02:11 | down from the top of the frame. Go
ahead and Play. You'll see how that one
|
| 02:15 | works out. There's a strong vertical
orientation, which kind of matches my
|
| 02:19 | underlying footage, which is also
vertical. Let's put these together.
|
| 02:23 | Now when I have a shot that's
basically black with white added, I'll try a
|
| 02:27 | composite mode of either Add or Screen.
If that's too strong, I'll open up its
|
| 02:33 | Motion tab, pull down Opacity and reduce
its opacity so it's not quite as strong
|
| 02:38 | of an effect. Home, Play, and now
you'll see I've got some nice light streaming
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| 02:44 | across this image, as if this light
was present in the original scene.
|
| 02:49 | It's a nice enhancement. It just adds some
excitement to the scene. It's kind of fun.
|
| 02:53 | Of course, you can try out other
blending modes as well. For example, you might
|
| 02:56 | try something like Overlay mode. Increase
the Opacity, so it's a much more severe effect.
|
| 03:02 | That's too much. Maybe try Soft
Light, which is a lighter version of Overlay.
|
| 03:08 | That's interesting. Home and Play, and
that's a nice final result. We have not
|
| 03:14 | changed the idea of the original clip,
so you are not going to get your client
|
| 03:18 | angry with you. You've just enhanced the
underlying clip. Let's try another one.
|
| 03:23 | Here is a nicely shot industrial scene
of some gears. You'll notice that the
|
| 03:29 | gears have nice motion. They have nice
lighting on them, nice highlights, dark
|
| 03:32 | shadows behind, but there is just not
a lot of motion in this clip beside the
|
| 03:37 | gears rotating. There is just no
movement or light play going on.
|
| 03:41 | So let's make this more interesting.
|
| 03:43 | I'm going to turn on this lighting
layer that we looked at earlier. You notice
|
| 03:47 | that it has nice, subtle motion, and
again, it has a color, a slight clay,
|
| 03:53 | reddish tint, which complements my
underlying footage. I'm going to suggest a
|
| 03:58 | mode, such as, again Overlay, just
as the starting point. So drag my time
|
| 04:03 | marker through here, you'll see it's
adding some various enhancements, bright
|
| 04:06 | areas and shadows to the scene.
|
| 04:08 | I'm going to preview this first at
full strength just so you can see what it
|
| 04:12 | looks like and now you see that I just
have some very simple subtle movement of
|
| 04:16 | light and dark going across these gears.
It's nothing too severe, nothing that
|
| 04:21 | changes the shot. It just adds some
interest because the shot is changing over
|
| 04:25 | time, subtle and a nice enhancement.
|
| 04:28 | Let's try something a little bit
more obvious. Here is another lighting
|
| 04:31 | background that might work. Again, it's
very orangish, which kind of goes that
|
| 04:35 | red clay background. I'm going to go
ahead and preview it for you here, nice
|
| 04:41 | wandering swirling motion.
Let's go ahead and try that one.
|
| 04:44 | Again, I'll select Overlay mode as my
first shot. Add lot of very rich tones to
|
| 04:50 | the underlying footage, Home and Play.
Now you'll see I've got some much more
|
| 04:56 | obvious light play going on across the
metal bars on the top and the bottom,
|
| 05:01 | and across the gears themselves. I
haven't changed the shot; I've just enhanced
|
| 05:05 | the lighting on the shot.
|
| 05:06 | If it's too severe, I'll double-click it,
open its Motion tab, drop its Opacity
|
| 05:12 | and back it off, so it's not quite
severe. There is the original shot, and
|
| 05:16 | there is with just a bit of enhancement
in the scene, a little bit more color,
|
| 05:19 | and a little bit more shadow and light
play across it, just adding interest to
|
| 05:24 | the shot. I'll turn that
one off and try another one.
|
| 05:27 | Now here is a color that's different
than that background. The motion is
|
| 05:31 | interesting and it does have flashes of
colors similar to background, but it's
|
| 05:35 | mostly blue. If I was to put that in
Overlay mode, on top of my clip, you see
|
| 05:40 | now it's something that's quite cold
and there are some strange color shifts
|
| 05:44 | going on them, bluish through here
and bluish through here, but my original
|
| 05:48 | gears are red. So this was the case
of a clip that does not work as well.
|
| 05:54 | Picking a color to complement the
source clip is a big part of this game.
|
| 05:58 | Now when you have good motion but the
wrong color, well, you can Hue-Shift your
|
| 06:02 | lighting clip. Finally, let's move on
to a couple of scenarios where we have a
|
| 06:05 | really fun clip to begin with. We just
want to make it even more exciting or
|
| 06:10 | even more hyped up.
|
| 06:11 | Here we have this trumpet player,
really nicely composed, strong diagonal
|
| 06:16 | across the scene. What can we do to
this with lighting? Because again, if I
|
| 06:20 | play it, his face stays in shadow, it
doesn't change. I have some shadows from
|
| 06:25 | him playing the trumpet, but nothing
much going on. Let's try some lighting,
|
| 06:30 | diagonal source footage. Let's try
a lighting clip to this diagonal.
|
| 06:34 | Now remember, this clip did not work
earlier because it had that diagonal
|
| 06:38 | orientation when we tried it on a very
vertical shot. Well, here it's going to
|
| 06:41 | be more appropriate. Bright in the
corner, light in the middle, dark up in this
|
| 06:46 | corner, let's go ahead and try this one,
Composite Mode > Overlay. It makes it
|
| 06:52 | moody, adds a lot of color. Maybe to
brighten it, I'll try a brightening mode
|
| 06:56 | such as Add, instead. That's much
harder. If I think that's too strong, I'll
|
| 07:01 | double-click it, Motion > Opacity,
back off the Opacity just to blend it in.
|
| 07:09 | Let's go ahead and go Home and Play,
and now you'll see, I've got some light
|
| 07:14 | playing across his face and playing
across the trumpet, whereas before, it was
|
| 07:18 | a relatively boring static shot. Now
this shot is bright in this corner and
|
| 07:23 | dark in this corner. Let's go back and
look at our original unmolested lighting
|
| 07:28 | layer. Again, I'll turn up its Opacity.
It is bright in this corner, dark in
|
| 07:32 | this corner, but notice my
underlying footage is oriented differently.
|
| 07:36 | The hand is kind of a highlight. I'm
not so interested in making his jacket
|
| 07:40 | more exciting. So this is the case
where we might want to play around, say the
|
| 07:43 | rotation on this layer. I'll open it
up in its Motion tab, go to Rotation and
|
| 07:49 | flip it around 180 degrees. So now,
I'm bright where the hand is. Go back to
|
| 07:55 | Composite > Add Mode, and now I maybe
have an effect that's more appropriate
|
| 08:00 | for my underlying shot. Home, Play, and
now the focus is much more on his hand
|
| 08:06 | than down on his jacket. Again, I can
always reduce the Opacity to reduce the
|
| 08:10 | impact of this shot.
|
| 08:10 | Let's try a couple more ideas. This is
backed with a nice gold clip. A lot of
|
| 08:18 | interesting movements, little sparkly
highlights again, really nice sparkles
|
| 08:21 | that appear and disappear and nice
turning motion that maybe will complement
|
| 08:26 | the action of the guy playing.
|
| 08:28 | Select it. Pick a mode of Overlay to
start with. Very rich now. The orange goes
|
| 08:35 | along with the tones of his trumpet
and his face to create a very rich final
|
| 08:39 | composite. If I find that's too much,
Composite Mode > Soft Light, so less
|
| 08:43 | severe version. Now I have something
that's not quite as obvious, it is very
|
| 08:47 | appropriate, and Play.
|
| 08:51 | Now I have a very subtle enhancement
of this shot. You don't really notice
|
| 08:55 | lights flashing, you just have a very
richly colored shot that's more animated,
|
| 09:00 | more fun, more shadows playing across
his jacket, shadows playing across his
|
| 09:04 | face, it's just a more dynamic shot
and that's the goal of this technique.
|
| 09:08 | One more idea, here is a footage of a
woman working out. Again, it's already
|
| 09:13 | pretty dynamic, strong vertical
orientation, nice camera pan down, the person
|
| 09:18 | who shot this has spent some time with
focus, nice water drop background in the
|
| 09:23 | first place, but again, we can add
lighting to make it even more exciting.
|
| 09:29 | One candidate would be a layer like this.
It already has tones that pretty much
|
| 09:33 | match the pitch tones in the original
footage. It has interesting animation to it,
|
| 09:38 | swirling lighting effects going
around. If anything, it's more exciting
|
| 09:43 | than I might use in most cases, but in
this case, my underlying footage already
|
| 09:48 | has lot of motion to it. So I don't
mind using a more exciting lighting layer.
|
| 09:52 | I'll try Overlay mode as the
starting point, much richer colors,
|
| 09:58 | more interesting background. Instead of
it being kind of a solid tone, it's much
|
| 10:03 | more interesting and modeled.
Let's go ahead and render it and Play.
|
| 10:07 | Now I've got a lot of animation going on in the
background and lighting across the overall layer.
|
| 10:11 | If I find that to be too strong,
that's okay. I can either choose a different mode,
|
| 10:16 | such as Soft Light, which is a more
subtle effect, or I can double-click it,
|
| 10:22 | Motion tab, Opacity and back it off so it
does not have quite a strong of an effect.
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| Collapse this transcript |
