Join Lee Lanier for an in-depth discussion in this video Creating wall damage, part of VFX Techniques: Creating Explosions with 3D Layers.
We've used a matte painting to fill in a couple holes left by the damage. Here's the left and right side inside the tower explosion comp. I want to show you the mask. I did spend a lot more time working on some intricate mask detail. Try and make it look more like a broken wall. And here's the right side. In terms of position on the left side, here's where I wound up. 825, 572, negative 706. In any case, we can use this matte painting two more times to capture this broken, burnt look of this edge here.
Let's give it a try. Back to build scene, I'm going to pull the interior matte down above castle right. I'll rename this damage right. I'm going to start on the right side. I'm going to solo this, so I can see it. Then I'm going to mask it, to save the broken edge. So not the sky, and not the interior, just the broken edge of the outer wall. Once again, I'll do this very quickly, and you can spend more time.
I do want to try to capture some of the thickness of the wall if possible. If it looks like that in the matte painting. I'll come back up around. And then down below the darkened burnt area, and back up to the top and close it. I do want to feather the bottom., so I'm going to grab the mask feather tool, click a few times and pull out the feather on the bottom. Something nice and large. This will help it blend better with the wall behind it. I can always go back to the slack tool, move any of these points.
If you see the feather pulled out you can also move that with this tool, alright. So let's see what this look like in the scene. I'll turn off solo. And then turn it into a 3D layer. And I'll work on the position and orientation. Once again, I wanted to match the wall. So an orientation of zero, and negative 15 zero. And before I do position, I do need to adjust the scale also. Now in that pane was created from a frame that had a slightly different camera, so I need to scale this down by 95%. In terms of the position 772 568 negative 1,008.
Let's go to a late frame. And there it starts to fit. And you might have to adjust the mask and also compare it to the mask that's being used on castle right to cut the hole. I want them to line up fairly well in terms of where that open edge is. In any case, we want to have this fade in over time. Now I don't really need this until frame 22, so I'm going to move the footage bar, here, and then animate the opacity. I'm going to start at zero. Then by frame 40, ease it up to 85.
A little bit of semi-transparency will make it blend better. So there we go. There's some damage there. Let me click off the mask so you can see it start to appear. Let's play it back and see what it looks like. So there we go. We can pull back, so you can see that. So it fades in. Again, some more time working on the mask for this layer, and the mask for the subtractive operation on the castle right side. We need it on the left side too.
So what I can do is copy up the entire damage right. Edit > Duplicate. I'm going to name this layer damage left. And just for reference, I'm going to pull this down above castle left. This one needs to start two frames later, so I'm going to just push it over two frames. I don't need the mask, I need to draw a new one, so I'm going to get rid of this one, delete. Now I can solo this so I can see whats going on and cut this side out, In a similar fashion.
This side has a greater sense of thickness, so I'm going to keep that thickness. Again, I'm doing this very fast. Up, back, down, around the burnt looking area, and close it. I also want a big feather on this, too. So I'll grab my feather tool. Do the same thing click three times or four times. Pull the bottom ones out to really feather that, you can go as far as down to that little hill, there we go.
I'll unsolo it, and well take a look at where it is. Now I do need to adjust the position and orientation. Orientation needs to have +15 in y. That's closer. And then a slightly different position. Let's try 853, 588, and -973, again I'm giving you these numbers as a shortcut. You're always free to move any of these layers interactively with your handle.
And you can look at those in any view, like the top view or even some of your custom views. In any case let's go back to camera one. This one's also fading up because the opacity animation was copied over. So it's now ready to go. You been able to use the Mac pane two more times. It was a little masking past the animation, fade in some additional damage.
- Stabilizing and relighting video footage
- Constructing a 3D environment in After Effects
- Incorporating stock footage effects, such as fireballs
- Fine-tuning CG particle renders
- Layering CG debris simulations
- Incorporating matte painted elements
- Animating a 3D camera in After Effects
- Color grading video, CG renders, and static artwork
- Adding flares, grain, and motion blur