All language subtitles for 15. Preparing for the final check

in this lesson

we'll run through a quick check of our shot

and at that point

be ready for you to be able to set up your final render

so as we look through the shot

I've I've already gone through

and I've stepped through

and I'm realizing that

hey guess what

we forgot something

and that's the point of these final sanity checks

and that's good

that's good to always double check

because sometimes things slip through the cracks

no matter how many notes you might make on paper

matter how many checklists you might create

at the end of the day

sometimes something does slip through

and that's fine

as long as you catch it before the final render

so what we're going to do now we need to

at the very end

we have our camera tracking information

if you recall

we were not be able to pull any more tracking data

past frame 7:32

so at that point

our nuclear mushroom cloud

is going to just sit stagnantly there

patiently waiting for us to do something

so if I jump between frame 7:32 and frame 7:33

watch what happens

you see right there

nothing's happening

versus frame 7:31

once it renders there

there we go

you're gonna see

obviously it's tracking

and then it stops tracking at that point

because it doesn't have any more data

so that's fine

so what we're going to do is

we are going to hand track that in

just by match

moving it via our eyes

so at this point

it's coming out of the scan line render

what I want to do is

I am going to animate it

directly past that point

so if I just move everything up

just gonna give myself

just a little bit more room to operate

we can shift everything

so we're just basically making room

shift everything up

so the stuff is nice and clean again

like I said I like

I like clean comps

so let's keep it

keep it that way

all right so

right here at the scan line render

we're going to drop a roto shape or

sorry apologies

a transform

put that transform right there

and at that point

what we'll do is

at frame 7:32

that was our final

our final frame of the tracking data

so we're gonna set key on the XY

and as well as the rotational value

and I'm not sure if we need to animate

but I'm betting we might have to animate

just a little bit of the rotation

just to match the fact the camera is

turning onto its side

so you know this

this stuff will be rotating

a bit more of it at an extreme angle

before it goes off screen

so now we just keyframed values of 0

so basically

everything's locked at that point

now I'm gonna remove the camera track

so we don't have all that information there

but we do have the control

here to animate our transform

let's go full screen

now at this point

going Onward

I'm going to actually just view

let's view the original plate

so we don't have to actually render

let's see at what point does it

would it go off screen

so somewhere right about there

right about

yeah right about there

I would be willing to bet

we can say that you safely aren't going to see anything

so uh that's frame 7:39 okay good

good to know that's

that's just basically tells us a range

what the reason is

I want to actually try to animate

instead of doing the very you know

each sequential frame

I'm gonna set a keyframe

and then I'm gonna

in between at that point

so if we move this over

let's just drag it over

wait for it to think about what it's about to do

there we go

and you can see also

we're having some color correct issues

but that's because we're using that tracking data

that's fine

we'll actually

once we have this key frame

this transform key frame

will actually paste that over

link it over

into any of our tracked photo shapes

so now I'm going to rotate just a little bit there

let it think

obviously it's a little slow

because we're dealing with

a little bit more data right now so that's

that's expected

let's rotate it just a little bit more

there we go

and move it up

perfect so I'm thinking something like that

obviously it might not line up just right

but for the moment let's just

let's run with it

so now we have from frame 37 32 to frame seven 37

let's go to frame 7:34 for kicks

let's see where

where it lies right there

and the ultimately

you just need to frame through these

these various frames to see does it match

doesn't line up

does it feel like it kind of follows properly

the movement

in the motion

it's really just a matter of double checking

so I'm just going back a few frames

and we'll see how it seats a 7:31

7:32 here we go

so it's locked right there now also

just as an FYI

I'm sure you know this

but you can also work with the region of interest

so if your computer

like mine is starting to bog down

you can actually just say hey

you know what

I wanted to render just this area

it's not having to render the full image

might allow you to get just a little bit quicker

response time

okay so here you go

so now it's following that movement

I'm imagining that the horizon line

is somewhere back in there

where the buildings are

and I think at this point that's not

it's not a bad spot to be

it could it could need a little bit more work

you would have to render it out and see it in motion

just to make sure that

it actually does line up properly

but for the moment

I think we're in a good spot

so let's just go to frame 7:38

because we do have those last couple frames

that we didn't animate

that's fine

I'm just gonna add a little bit more rotation

there we go

and you're kind of just following

that animated curve right there

you can kind of see that

as long as you're along of similar curve it's gonna

it's gonna probably match up that motion

just reasonably well

there we go

7:38 that's good

and I'm basically looking at the horizon line

being where those couple buildings

that are poking through are at

and let's go to 7:39

I think that'll be our last frame at that point

once we've roaded this

yes okay so

we're basically off frame at that point

so that's fine

so I'm gonna jump this frame 7:40

and I'm just gonna push this all off

completely off

off frame now

what we need to do is two things

we need to take that roto

so I'm just gonna jump this frame

7:35 for kicks

that's a good spot to just kind of see what's going on

I'm going to

you can either again

right click

edit copy as clones

or in this case

we're going to use a shortcut

so control K

and then move over

and we're gonna control v

and I'm gonna drop that right here

so that that way

that roto now

you see what happened

well now I can't but if I

if I break this out

let's just break that out

you can see where the color correct

begins to line up properly so that's

that's a good thing

and then obviously

any other points at which you were doing that

you probably also want to uh

integrate that

so you can add that into your rotto

of your building

and you can also add that into

the other uh

roto over here

so that I'll let you take care of

or we can do it right now

let's just do it right now

for kicks so

let me just drop that in

and drop it in

over here here we go

move that skinline render up

just kinda clear things up a little bit

there we are

there we go

okay so you're covered

okay so that's in a proper place

now what we want to do is

we need to hold that out

so I'm going to do a quick roto

and right here

you have it set to out

so we could

what we can

what we can do is

I'm just gonna move that defocus up

I'm gonna add a merge

let's turn it off for the moment

until we're ready to use it

add a rotor over here

oops apologies

that was not meant to connect in

there we go okay

connect that in

right there

all right actually

let's just bring it down

right there

that's fine

and what I'm going to do

in this case is

let's go back to frame 7:32

that's where things

begin to fall apart

in terms of our movement

and let's just get rid of that transform

there we go

and we need to rotate

let's see if every frame 7:31 needs it as well

let's double check

yep okay frame seven thirty one is going to need it

and does frame seven thirty need it

okay we're good on frame 7:30

so from frame 7:31 Onward

you need to rotate that out

so we're just gonna add a couple points here

and let's full screen go down

here we go now

I'm willing to bet we're gonna need to also rotate that

on some subsequent frames

but we'll worry about that later

but at the moment

let's turn that on

just gets where we can see it

there we go

turn that on

there you go

now you just remove that

so we've started frame 7:31

jump over to the original plate frame 7:30

don't forget to drag that roto off screen

otherwise love

a dead roto from all the frames prior

up coming up

this frame 7:30

you don't want that

and then let's just move forward here

frame 7:32 I'm actually gonna jump the frame 7:35

and then we can uh

we can work on the

in between rotos

in between keyframes apologies

so let's just uh

and there we go

and see do we need yep

so we need to add an extra point on the rotor shape

so let's just do that

and then right click

and you can cut d smooth

there you go

so it's just a hard point

which is what we need for this

there we go

all right now we have begun cutting it out

so now frame 7:35

let's go back to 7:30

to 7:33 actually

let's go back to the original keyframe uh

and make sure that that's a uh

cusp the smooth as well

so that way the interpolation stays hard edged

and let's grab all of our points so we'll

so we'll just grab all those points

move it up and I'm working without it

without the mushroom cloud

just because

I have a general idea of what is needing to be uh

cut out just to speed up our process

cause you don't wanna

you wanna sit there all day waiting for it to render

the idea is you know

you're trying to be as quick

and as efficient as possible

and at this point

now we're basically ready to go

you just need to continue doing this

you can see that uh

you have a couple more spots

but let's take a quick break

we'll finish up this rotto in just a moment

and then we'll be ready to render

so just to do a quick recap

we're discussing how to hold out our uh

leftover pieces of the nuclear mushroom cloud

we've also worked on finishing those last few frames

of the missing camera

tracking information by just hand

tracking in the movement of the nuclear mushroom cloud

and let's take a quick break

we'll come right back

we'll finish up

and you'll have a shot ready to render