All language subtitles for 12. Adding fog and color corrections

in this lesson

we will continue integrating our 3D

and live action elements together to create a final

rendered scene

so we left off in our last lesson

having worked on some color corrections to

get the overall background plate to be a closer match

to what the matte painting was suggesting

so we we've gotten it closer

it's still not there

but if you look at the bottom left hand corner area

mostly along here

you can see that we are getting it a lot closer in

in relation

now when I inspect

just based upon that area

I feel like we're needing a little more green in there

so let's let's go in and

with our original color correct or

sorry apologies

our second color correct

I'm going to add more green

so let's add that

pump that up to 1.75 there

let's just see what that does

so 1.5 as probably a bit much so 1.6

that's getting it a little closer

uh in that region

okay so what I'm also seeing is the building of course

is definitely not matching

it needs to be

it's it's cooler right now

and it needs to be in a warmer tone

so let's go up here to our elements

and what I'm going to do is

just work on our building itself

so our building is

I'm just gonna add these little pipes right here

so we can kinda delineate what's going on in here

if we look that's our building element

so I'm going to add a color

correct after that

scan line render

now what we're going to do is going to the gain

and I'm going to do

just a little bit

I'm gonna shift it to

to a warmer

warmer direction there

you can kind of see how it's going to a warmer tone

and if I shift just a little bit more

I think that's not a bad way to be going

and see it's getting a little closer

there that's

that's good

okay so now

what I think I need to do

is just drop down that blue just a little bit more

and it's not matching back to our reference perfectly

but I'm liking it better

at this point

I'm going to start taking a little more

artistic license on this

obviously if you're in the real production setting

you're going to be required

to have to match things perfectly

but as I'm building this

I'm also seeing things

that I feel

that works better

in the live action version

than what would have just happened

in a map painting scenario

so just just be aware of that

when you're setting things up

obviously it's dependent on what your

your requirements are

for the shot

whether be in a professional studio setting or

in this case

a project that is

is we're teaching how to do various steps

as well as have some fun doing it in the process

so I'm looking

at that I think

I think that's

that's not too bad

at the moment

I think I'm going to bring down the green hues in there

just a little bit

oh that's way too much

let's actually dial it manually

so if we add one

point nine eight

there we go

just I mean

a subtle amount

but that definitely makes it a little better

okay so now

what I want to do

is bring in the uh

the fog layer that we had going

so what we need to do for that

is basically

use a rutto shape

to follow where the building is

and then also

the tops of the uh

of the mountain over here

so what I'm actually thinking we could do

is we could actually steal the

rotorship that we already have

which is this

and I'm going to invert it

and just see what we can do with it

if we were to invert that

so just hit

invert there

connect it back up

and what I need to do

is set that output to RGBA on the roto shape

so that it's not gonna affect anything

of those color cracks

cause it's still pumping Alpha to that

but I do want to set the

so I have an RGBA channel of white

so if we just view there

you're gonna see

there's the

the roto shape

inverted um

so let's just add a merge

right here I'm not

I'm not hopeful that this

would just plop

in fact I know it won't

so let's just

let's just view there

and see what happens

so before and after

so obviously

just solid white

on top of the color

that's obviously not what we're looking for

but I'm gonna do a couple things

I'm gonna add

dilator road

so actually

so you can see

when I delete that

a little too fast

there hit tab

type in a road fast

that's the one you want

and connect that in

and then I'm gonna add a blur

so I hit the B key on the keyboard

which created my blur as well

you can also hit the tab

and type in blur

so what I'm going to do

with the rotto shape is

I'm going to road it back

so let after

after it's or before

it's inverted

so I'm going to actually

dilate it out

so let's say

a factor 50

and that's definitely not anywhere near enough

let's say 500

there we go

that's getting a little closer

and then I'm going to blur it

so let's blur it

a factor of two 50

um definitely not enough

so let's say 1,000

just go all out now

it's now it's

having to think now

keep in mind

we're working at

uh 4K here so

anything that you're doing

especially when you're dealing with a

dilate a road node

it's gonna potentially

kill your computer

um with that

amount of processing

so what would I

think I might do

now we now we

have it back

in a closer uh

fashion actually

I actually like that a lot

just just as is

um you can see how

it's kind of

hidden away

in the fog there

that's actually

really nice uh

and results

so let's just

zoom in here

you can actually see

so basically

what we've done

if we go over here

to the roto shape

you can see

what happened is it's

if I look up here

if you sample

you can see

the color values

the RGBA color values

right here where

the mouse is

so when I run it over here

you can see

those values pop up

so you can see

the alpha channel

is not even 100%

solid at the top

so that's exactly what I wanted

and it just

basically has a

really nice

fall off going down

and at this point

now we set up a nice

procedural way

of ensuring

that it will

match back to

what were what

we're working with

in the rotor shape

just it just

ensures things uh

line up just

a little more

properly okay

so at this stage I think

let's go back to

viewing here

we've gotten our fog in

I'm going to

go back to our

reference here

you and then

you can see kind of

what's going on

there's a little more fog

happening over here

I don't hate it though

because I think

if if we're

thinking about

in terms of

kind of a plane

going across this half

there's going to be some fog

rolling down

through there

so that's okay

and it and it definitely

helps the seat

things a little

better in the

in the scene

so let's just uh

full screen our viewer

and I'm gonna jump to a

couple frames

just to kinda

get an idea

of what's happening

the unfortunate side effect is

now that we're using a

dilator road

it's gonna take forever

to render so

a quick and easy

way around this

actually just

turn that dilate off

now you can see

obviously it's like

crazy socked in

amounts of fog

if we're calling it that

but what I'm wanting to do

is I'm gonna

actually instead of

eroding it uh

or dilating it

in this case

I'm actually gonna

transform it

so if we go back to our

reference frames

go back to hundred

I'm going to view

at the transform

and at the dilate note

I'm gonna turn that back on

now it's basically just

moving it up

is really what's going on right

so what we can do

is we can do

the same thing

only with transform

it'll be a lot

more efficient

so let's set that

to 500 pixels

now you can see

it's very similar

very close I think

uh I think that

should work just fine

so let's actually just

reconnect through

the transform

and get rid of

that dilate

all together

and let's review

right there

now what we have

going on is

we've shifted it up

but you can see

there's black there

so we need to

select that

black outside

and turn it off

so that it actually

pixel repeats

all the way down

and that should

fix our problem

so now we have blurred

we've inverted

and at that point

you can see

it's being laid on top

which isn't so bad

I'm actually

enjoying that

a lot so we

I think I honestly

it looks nice

but I think

when I'm going back to

the reference

I think we're taking a

just a little

bit too much

artistic license

in terms of the fog

you can see

there's a significant change

so what we'll do

is just basically

back off on

the next so

we can see right here

at this point

now we're getting a little

you know just

at a almost

halfway Mark

you know it's

a little closer

in terms of what

the expected

amount should be

I think that transform

I'm actually

gonna drop it back down

to about 400

just to bring the fog

a little more

now I think that

actually that's

going back to

what I was saying

I think we're

taking a little too much

artistic license

so let's let's

bring it back up and

I think that's not too bad

ironically enough I think

oops apologies

I think our original estimate was

wasn't too bad

and to begin with

okay so at this stage

now we have reasonable amount of fog going on

we have reasonable amount of overall look

I think what we need to do at this stage

is take a quick break

and then we're gonna work on further integrating

the base of the uh

building into the actual mountain itself

it feels like it's still just a little bit too floaty

but we have some tricks that will uh

accomplish that goal

alright so just to do a quick recap

we have discussed further integration

of our 3D and live action elements together

we've introduced a nice fog layer that's uh

happened in there

we've gotten our background plate uh

color corrected to get a lot closer

to match our original matte painting reference

and our next step will be integrating the building into

at the base of the building into the mountain itself