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Learn how to create stunning motion graphics and animations for video production. Author Ian Robinson explains how to format and animate type with the Transform Glyph tool and explores Motion's real-time 3D tools. The course also covers working in 3D space, creating depth with lights and shadows, keying green screen effects, and working with particle systems. In addition, Ian offers practical advice on integrating Motion into a professional video workflow and explains how to work smarter using rigs and templates.
Now if you're joining me from the previous video, you'll recognize what's going on here, but just in case you jumped right to this part, I want to kind of explain what's happening. We have a dancer who has been keyed off of a green screen and in addition to that, after the initial green-screen key, notice the green in her shirt was popping out, so we had to create a holdout matte to do that. So if you have interest in any of that stuff, jump back in the chapter and watch some of those, but we're going to continue on from here.
Now I want to just stop for a second and explain something. First thing, the play range is really short because I've only done the holdout matte just for that one little section. But second thing, in general if you know you're trying to match something into the background of a scene, you want to pay attention to a couple of things first. First thing, that scene that you're shooting for, you want to make sure in the studio to try and emulate those colors as best you can. Also if you can shoot it with the same camera, that would be great, but as everybody who is watching this knows, optimum situations never ever really seem to always happen, so you need to be ready to be able to pull some tricks out of your bag and see if you can get things to be a little closer.
So if we're looking at our scene right now, we have a pretty decent key going on, and we have our dancer in the foreground. It looks kind of like she is dancing on the sidewalk, but if you look in the scene here, you'll notice that things are kind of soft and it's sort of sunset-esque and she's way too saturated. Yes, I could continue tweaking the green-screen key and you know double check the edges and do all kinds of other things, but like I said, we're just color- correcting right now, so let's select her and to color correct, let's go the Library.
There is a filter that I use to get things close really, really quickly and it's kind of a fast-and-dirty trick. If you go to Color Corrections, there is a filter called Colorize. Now if you just drag and drop this right onto our dancer, first thing you'll notice: the holdout mask. I'm just going to turn that layer off for now. Once we get our colors set then we can just copy those filters to the holdout. Now when you just apply this, it makes it look like back in the day dancer or whatever. I want to change this by adjusting the Remap parameters.
Now the reason I like using this; when you have a scene that's tinted with a color, black usually isn't black and white usually isn't 100% white. I mean yes, in certain areas things are white, but all in all there is generally a tint to the scene. So using Colorize allows me to pass that tint through the different luminance levels of the image with both black and white. Let's grab this little eyedropper here for black and choose an area of the scene more down here.
I'm not going to choose the black right here because that is pretty dark. I want to choose some kind of black that has a slight tint to it. So if I come down, maybe the edge of this guy shoe. When I click on that it's not very black. Let me zoom in here, Command+Plus. There we go, that's a little darker. It's kind of tinting it brown, but that's okay. We want to get relatively close. Now for the white I'm going to choose something a little more gold, so I'm actually going to click up here in the trees and just sort of really accentuate what's going on here.
Now with those two things selected, it still doesn't look anything close to what it needs to, but if you crank the Intensity down notice things are started to look a bit better and if you bring the Mix down, you'll mix in the background video layer just a little bit. So you can adjust the Intensity and the Mix and now all of the sudden--let's look at what we have--if I turn off the correction she's all saturated and pops out of the background, but if I turn it back on, she's definitely more muted into the scene. Like I said before, I can keep going back and adjusting the key and edge wrap and that sort of thing, but all in all I'm getting a relatively good tint.
There is another way to help blend things into the background, and that's taking into account the focus. So if we look at what's going on here, everything is a little bit soft. Even these leaves over here are little soft. So I'm going to select her video layer and go to my Library, and this time instead of Color Correction, let's go to Blur. And instead of just doing a traditional Gaussian Blur, I'm going to choose Defocus. See, Defocus will blur her out a little bit more like a traditional camera would blur something out.
So of course in the Inspector we want to go back and bring this amount down exponentially, but if we bring it down you'll notice now as we kind of look at things it's looking a little more natural and she starting to blend into the scene. Now let's turn our holdout matte back on. Now I'm just going to press Command+1 twice to close the browser, so I can show you the exact filter that we are copying: Defocus and Colorize. If you hold down Option with both of those filter selected and drag up, you can apply both of those filters to the holdout mask video as well.
So now things are getting very, very close. There's one other thing you can do to help blend things into a background, and this is a little-known trick that a lot of compositing artists do, and that's actually introducing grain back into the scene as a hole, because that is yet another consideration. Even if you're shooting digitally, when you have your ISO set at a higher level, it introduces noise back into the image. To stimulate that a little bit, we'll select our main group here, and you'll notice that group contains both the dancer and the background.
So if we go to our Filters, we can click and go to Stylize and choose Add Noise. And again, much like many other things, the default settings are not quite doing it. So press Command+3 to open up the Inspector and in the Filters here, let's first change this from Color to Monochrome, because I don't want to introduce any new color into here. And by all means, that's decrease the Amount, so it's significantly less in the seeing. Now you can choose White Noise or Gaussian Noise or Blue Noise.
Let's choose Film Grain Gaussian Noise. It's set to Autoanimate. You can adjust the Mix by bringing this up or down. It's very subtle. But let's see what's going on. I'm going to press F8 to show you full screen, and we'll preview this first one second. And as you can see, yeah, it's not quite perfect, but it's definitely infinitely better from where we were, and with the noise added back into the scene it's definitely helped things.
So just to show you the before and after, let's open our Layers panel and open our Dancer group and just turn off the Colorizer and the Defocus and the Add Noise and as you can see, relatively quickly we have definitely made quite a difference just by using a couple of filters and taking a second to analyze the scene.
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