All language subtitles for 3. Compiling the Shot; Final Integration

In this clip we're going to take a look at compiling

the shot for final integration.

So now that the majority of the keying and edge

treatment have been completed for this shot,

we have compiled all the steps together for final integration.

Now I will note that not all of the techniques have been used here

that have been taught throughout this course,

as some techniques or portions of the workflow have

different variations and these show these variations have

their own strengths and weaknesses.

The workflows that work best for the shot have been

used and are seen in this script.

So let's take a look.

So here is our script.

It has been completely optimized.

There's always extra little things that we can add,

but it's looking pretty good overall as a whole.

So the blue backdrops are going to be from previous clips

and modules and the teal ones are the ones that we will

be discussing in this clip.

So before we look at those, let's just take a look at what we have here.

So you can see that each and every step has been labeled so we can see

what's going on and you can see that there are multiple different

keyers to really capture all those wispies.

We have the despill, the additive keyer to add back some details,

some refinement of the motion blur, and the light wrap.

So we're going to add back the reflection in the glass.

I had some last minute edge blending and of course the background.

So let's take a look at that background.

So here is our background image and the first thing that we

want to do is denoise it because it has static grain from the

photograph so denoise and if you can,

be sure to pre-comp this as this is quite a heavy tool,

but it has been left in here for reference purposes.

Reformat it down so that it matches our plate and I've scaled

it up just a tad just so that I can get some extra bounding box

in here for when we add movement.

So here is our tracker and our tracker is from our original source plate.

You will recognize it from the back of the head rests.

We are going to lock the background plate to the foreground image.

Now typically in production you do not want that to happen.

You want them to be slightly offset just to imply some parallax; however,

we're going to keep it simple for this particular clip and for this shot,

just for integration purposes so that we can see if

the edges are integrated correctly.

So the next thing that we want to do is some color correction.

So let's just take a look.

So this is our original image and we want to add a

little bit of green to it overall,

just so it matches with plate a little bit better.

So let's take a look at what that looks like.

So here is our foreground over the background and we're going to

disable that color correction really quickly.

So you can see here, it doesn't quite feel right.

It doesn't quite feel integrated.

So we're going to do a bit of a color correction just to

bring in some of that green overall.

So how did we do that?

So let's add a gray tool and attach it up here to our background

image and take a look at our background image.

So the first thing that we're going to do is we're going to

sample the black and the white points.

So this is a pretty straightforward color correction.

It can be revised a little bit further,

but this is a really great starting point.

So take the black point and we're going to take the gamma in the LUTs and

turn it up so that we can see where the blacks are.

We're going to sample somewhere in around here.

So sample.

That is Ctrl + Shift + click.

There we go.

And then we're going to do the same for the white.

So let's just zoom out, take that LUT with the gamma down,

and aim for something that is not a Super White.

So something that is not a highlight, but rather just a true white.

So think of white like a piece of paper white.

So there we go.

There's our sample.

Deselect it and turn the LUT so it's back to the default and now what we

want to do is now that we've said this is the black point and this is the

white point in this shot or in this image,

we're going to say what is the black and white point in our foreground image?

So let's just take a look at that image down here.

Here it is premultiplied.

Now make sure that this gray tool is still selected and select

the lift and we're going to sample the black.

You can see here that it's representing black so

Ctrl + Shift + click one more time.

There's the value.

Same thing again with the multiply or rather the gain, not the multiply yet.

So the gain, which represents primarily the highlights.

We're going to go into here and try to again get something close-ish to white.

So we're going to select the gain.

Make sure that's selected.

Ctrl + Shift + click as well so let's sample that there.

Turn that off.

Now let's take a look at our background.

So here's our background image.

Turn the LUT back to normal.

You can see that it's looking a lot better.

So this was the before and after and now it's looking a

lot more green overall in the shot,

which should match our plate a little bit better.

So I'm going to disable that since we have one that has been done already,

and now we're going to take a look at that windshield,

which was missing earlier.

So if we take a look at our windshield,

you will notice that it's not looking so great.

We're missing the screen right of this windshield, so we want to recreate it.

Now the good thing is is that there is no passenger over here and

this character is so far over to the screen left that we probably

won't see her movement screen right.

So we're going to have a trick to fix that.

So there are other ways to do this,

but this is a really great technique for the shot.

So first take a noise tool and we've left this just to

break up the pattern in the windshield.

Next we're going to just darken it a little bit, dissolve it a little bit more.

So this is just setting the size, the canvas size.

It's not mandatory.

You can probably leave it out, but it's up to you.

So there's the dissolve.

Just bring it down,

so way down and we've also isolated the area so that

it isn't across the entire plate.

So LUT that up here with a rotoshape.

We've color corrected it and we're going to take this previous image.

This is the premultiplied image.

It's going to look a lot more crunchy now that we've turned up

the LUT and combined them with a keymix.

So this is really rough in here, but it's going to work quite well again.

Let's just turn that back down to where it was and take a look at it full color.

You will notice that it is a little bit green.

So that is why we've used this color corrector or gray tool

in here to also change our extension of the windshield

reflection to be green as well.

So from there,

we've taken this little piece here just to help integrate this edge.

So let's just take a look at that.

So again, just very subtle inside of there.

So we want to take that, let's just double check where it is.

That's looking like it's good tracked in there.

And bring it together.

So let's just take a look at what that looks like

together in our final composite.

So there we go.

So now it's continued over here.

If I didn't have that, let's just see what that looks like.

So we're going to connect this up to where it was.

So you can see here, it's not looking so great.

Let's just turn that LUT back to where it was so you can

see where that line is right here.

We don't want that.

We want to continue it, so undo.

And it's nice and clean across here now.

So now we have a nice and clean reflection.

It's working quite well and it's integrated really great into the shot.

So now let's just take a look at the last step,

which is just a final tweak with the edge blending and

that is with these edges up here.

This is a really great example.

So we can see some artifact in our edge or just stepping in

general and we can help to modify that.

So the first thing that we want to do is we want to see where this edge is and

we want to blur this edge into the background and the background into this

edge so it looks like it's part of the same image.

So the first thing that we do is we take that final alpha.

So there's the final alpha.

However,

these gray portions of the alpha are going to get us in

trouble and not isolate our edges properly.

So I've taken a color lookup tool just like in previous

clips and modules and taken the alpha.

Make sure the channel is alpha only.

It will allow us to clip or rid of the gray values.

So that's looking pretty good there.

Next we're going to take an edge detect.

So the edge detect tool will allow us to say,

hey where are these edges, and just show us what the edges are.

So make sure the edge detector is set to sobel and the channel is alpha.

So not RGB but just the alpha and it will give us a

matte for just the edges of our image.

Blur this ever so slightly.

We always want to add blurs to our mattes so that's just a little bit there,

and now we're going to break the rules,

rules being that typically we don't want to add a blur to an RGB image.

So here's our image previously,

so our final composite before fixing these edges and we're going to

drive this alpha that we had here into a blur tool.

So this is okay to break the rules here.

There we go.

Just a little bit.

It's going to be very subtle.

Just enough that it feels right for lack of a better description.

So if I were to zoom out, you probably won't notice this.

If you do, it's very, very subtle.

However, it's one of those things that if we add it,

if it didn't have it, it wouldn't quite feel right and if we add it,

it's going to add a little bit more realism to the final look.

So little steps take the final composite a long way.

So now that we have all of these steps put together,

let's just take a moment to compile a flipbook and we're

going to see what that looks like.

So to do a flipbook,

let's take this final render that we have here and we're going to go up

to the top and say Flipbook Selected and we're going to go for the

entire duration of the shot and I'm going to hit OK and come back in a

moment once that has been cached.

Okay,

so our shot has been cached in our flip book and this

is looking pretty good overall.

So we have some really great edges up here.

This was a real problem when we were a few modules back.

We were having issues with it pulling the blue screen

forward and it was getting stuck in her hair.

We had no reflection over here.

It was missing in the screen right.

We had all kinds of issues with our motion blur and great edges just overall,

some crawling in the edges that we've resolved with roto.

So overall,

the shot is looking really great with all the steps that we've

added and the extra little attention to detail has really allowed

us to take the shot through to final.

So the last thing that we are really missing is adding any

missing noise to the shot that has been left out.

So we're going to take a look at that in our next clip.