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In this lesson we're going to learn how to integrate a rotoscoped
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piece of footage with another piece of footage.
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OK.
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So in between lessons I hope that you attempted trying to animate
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the rest of this rotoscope we had drawn out and getting it to
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follow along with a piece of footage.
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It's really great practice to just kind of do this on your own and
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figure out some of your personal favorite workflows,
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so when it comes time for something you have to rotoscope for a deadline,
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you already are ready to do it.
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So practice definitely makes perfect with things like this.
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And you just really find out your own personal
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preferences and workflows for doing it.
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There's not a wrong way.
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As long as it looks right and it looks the way that want it to look,
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it's not necessarily going to be bad.
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It's maybe not the most efficient way sometimes the way
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that you may choose to do something.
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If you have a key on every single frame, it might not be necessary.
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But if it works, it just takes practice for you to get faster at it.
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So that's definitely to be expected.
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And honestly, I have quite a few keys on the fingers and hand over here.
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Just because it's moving so quickly, we really needed a lot.
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So hopefully yours looks pretty similar to mine.
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If it doesn't, you can go ahead and just open up the project file I'm in now,
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which is 10_begin.
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And now we're ready to bring in the other piece of footage
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that we'll be integrating our woman with.
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So go ahead and grab your reference files folder,
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and we're going to use this background clips PNG sequence.
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So just go ahead and grab the folder,
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and we can drop it right onto our node graph.
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And automatically the viewer is just going to pop over to that.
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So I'm going to show you what this looks like,
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because it might be a little confusing if we were watching it by itself.
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And let's just go ahead and clear our properties bin,
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too, so we don't see the roto.
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So basically this background is just a series of three sequences of footage,
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and some of them are a little more still than others.
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We have a little bug kind of flying by in the background of this one.
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The clouds are moving in this one right here, and they're a little bit blurred.
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So we kind of have this nice effect that,
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once we get our actress on top of this footage,
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almost like she's been in three different places,
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but she never moves.
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She's going to be looking the same like she's been in
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one place the whole time waving.
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So this is definitely kind of a popular thing you've seen,
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and so this is a way that you can recreate this.
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So I already have this series of clips I've just put into one sequence.
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And then we'll just use a few nodes to get these working together.
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So it's actually a pretty simple task once you have the rotoscope created.
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All we need to do now is add a merge node.
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So let's go ahead and do that now.
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I'm just going to come over here to the node graph.
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We'll hit Tab, and you can type in "merge,
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" and that'll drop on a Merge node for you.
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Now because I have the Read node selected,
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it automatically put that on my A Pipe.
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And this is what I want to use as my background.
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So I do not want my background to be on my A Pipe.
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I want my foreground to be on my A Pipe.
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So I'll disconnect that.
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We'll hook this up to the B,
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and then you can grab the A Pipe and plug it into your roto.
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Now let's go ahead and fix this up a little bit,
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just to get our node tree looking proper.
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So we'll have the B Pipe going straight down,
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and we'll have the A Pipe going straight in from the right.
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So that looks a little bit more clean.
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We'll move that viewer over.
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And pretty much everything looks sort of OK.
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But the default operation of the merge as over looks wrong,
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because we can still see that background with the fence and
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the concrete that she was a originally on.
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So what you need to do is come over here to your
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operation and change it to matte.
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And that's going to give you this really nice clean shape where we
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have her cut out from her original background,
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and then we see her just on top of these three different backgrounds.
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Now, of course,
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you may want to go in there and do some color correction if you feel like the
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lighting changes a little too drastically from scene to scene,
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maybe desaturate her a little bit.
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But I love the way that this blurriness really makes it feel like there
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was a camera that was shooting this and she was closer to the camera and
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all of these elements were further away,
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so we get this nice sort of just blurred out
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background because it's not as in focus.
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So, really, that's all there is to merging foreground with background footage.
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Sometimes just that operation can trip you up.
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You just need to remember to change that to matte, and you'll be on your way.
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So that's pretty much it for this lesson.
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In our next lesson,
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we want to talk about how to output masks into an
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image sequence to use later on.
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And this can be really useful if you need something that's going to be a
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shape that you can use as an alpha channel and you just want to have that
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one piece of footage to use wherever you like.
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And you don't have to worry about drawing a rotoscope
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again or trying to bring in that part of your nuke script
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to your different nuke script.
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It's just a little more streamlined sometimes to do it this way.
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So we're going to learn how to do that in our next lesson.
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