All language subtitles for 10. Beginning final element integration

in this lesson

we will begin integrating

our 3D and live action elements together

to create a final rendered scene

so where we left off was

we just put together our geometry

our simple geometry

that we were going to then determine

if we need to create any other additional geometry

for the building

to go about doing that

what we need to do

is we need to do a quick slap comp

a slap comp is basically taking the elements

that you have created for your composite

and slapping them together just a

just a quick

rough and dirty version

so that you can be able to see some sort of an output

to ensure that things such as tracking that would

between the building

and the actual live action background

make sure the tracking is actually lining up

as well as to determine if we do even need to create

any more additional geometry for the building

to ensure that the proper perspective

based upon the live action camera move

is actually being matched

and if the subtle movements that you're seeing in there

are suitable enough

to be able to consider the 3D set up for the building

as a finished piece in

in relation to the actual geometry

so let's just do a quick comp here

what we're gonna do is just take a merge node

and zoom in on this

what we're wanting to do

is put the building on top of the antenna

remember the numbers that we have here for layer order

so antenna was layer 1

building was layer 2

so a over B

so building over antenna

so there's that

and then we have our mountain footage here

so then we create another merge node

and we're going to have the building and antenna

over the mountain

so now at this point

we can just view right here

and we'll be able to get an idea of what's going on

so hit that

that viewer

and then let's full screen our actual viewer section

and you can see

the building is in the location that we were hoping

now if I start to scrub through in the timeline

so based on frame 100

we were actually at frame one 39 there

but at frame 100

that visibly looks like it should match

now just to confirm

let's grab our reference frame

and let's view that

so we look at that

you can see

this is our slap comp

that is our reference frame

the only thing that's changed

is the location of the antenna

having been slid down just a little bit

just in case

we were worried about a little gap there

the other reason

I think it's

now that I'm looking at it

from aesthetic point of view

I think moving the antenna down just a little bit

is a little better

cause it gets a little

way further away from the top of frame

but that's obviously wasn't

the reason we were

we were doing that

so now if we look between the two

you can see that the building

and the background line up

but obviously

that's because it's on our Frame

100 reference

so now if I start to drag through the timeline

are we seeing it

tracking with the movement of the background plate

and you know what

I think our answer is

actually yes

it is now something to keep in mind this was

this is for us

was a bit of a happy accident

but something to keep in mind

when you're setting up your 3D geometry

you have to keep in mind

that the distance

wherever your 3D geometry is going

needs to be

properly placed

in the distance from the camera

the the actual match

move camera

to wherever that point is

in the scene that you're putting it in

so in relation to where our live action camera is

in relation to this

this mountain ridge

you know this could be the span of several miles

potentially

actually probably quite a few miles

but the the thing about it is

you have to keep it in

in relation to the actual

spatial distance

so while we have our geometry

if we go back to our 3D space here

you'll see that the distance between the building

and the cameras

is a certain distance

if we select our

point cloud

you're gonna see

kind of that

it's sort of

in the middle

and I think that's probably a reasonable

it was a reasonable Assumption

when we originally laid this out

that it might be somewhere in there

but we have

really no basis

it could be somewhere up here

you know in front

or it could be somewhere back there

but the thing is when you

when you have your point cloud

it's sort of a way of

to help you determine

where to locate your geometry

so always keep that in mind

when you're building your scene

that you want to make sure

that your geometry

that you're creating a nuke

is lining up

into the proper

spatial depth

of the live action

element that you're matching it to

in this case

where we set it up I'm

I'm fairly certain

it looks like it tracks pretty well

if you if you

you know if we zoom in here

and kind of

just look around the edge

you're going to see that

it you know

you could basically

pick some identifying markers

you know where maybe

like this little

dark section right here

on the rock face

or whatever

you want to work with

you kind of

see that it is

tracking and

moving with it quite well

and the perspective shift

on the building

is actually working quite well

as as as well

the cool thing about this

is you know

the camera isn't panning a 3 60

or you know

doing some crazy

like matrix

style fly around

the building

or anything like that

so it's not something that we have to worry about

but you do want to

ensure that

your camera does

match the movement

of the live action

that it was shot in

in this case

it seems to actually see well

and doesn't look like

the building

is floating

off of the actual

mountain ridge

so that's a very good

indicator that

we are in a

good place to be

alright so let's continue

let's actually

start to integrate now

so we're at frame 100

frame 100 is

our reference frame

so that's a

that's a good spot to be

because we're able

to then a be

between that

and our live our

our our map

painting reference

so what I want to do

first off is

I think I'm going to we

we not think

I know we need to

establish a

few layers here so

so what we had in

in Photoshop

we had these

couple layers

so we have that warm

layer right here

so if I just view that

you can see

it's sort of

a brown gradation

layer that's

just hasn't

has a nice fall off

going on there

so for kicks

let's just copy that and I'm

I'm just gonna try it

I'm not gonna guarantee

that this will work

but let's just try it

so if we if we

lay that on

top of our scene

now the thing about this

is the reason

that this would

necess wouldn't

necessarily work

is potentially

because the

movement is there

there's a camera move

right so so

the camera would be

moving and that

that gradation

wouldn't be

following the move of

the camera so you

you wouldn't be

ensuring that

it follows sort of

that foreground

shape of the

of the actual

foreground mountain

versus the background mountains

you can kind of

see right here

where it's actually

more greener

greener hue above

and a warmer hue

redder hue below

so so there

right there

is actually

a perfect example

of why that

probably wouldn't work

so what we're going to do is

we need to create

a roto shape

that we can

either a track in

utilizing our

tracking data

or we can just

animate our

roto shape to

follow that move

in this case

either one would work

if if this were a com

a really complex

camera move

I would go with use

utilizing our camera

tracking data

to be able to

extract some

some of that data

to be able to utilize

2 just match

move the rotor shapes

to to follow

the move of the camera

it's a very simple

procedure but

in this case

I think what

we're going to do is

we're actually

just gonna animate

because the cam

cameras isn't

moving in a crazy

3 60 pattern

or anything

or one 80 or

anything like that

so we can probably

get away with

just starting

at frame zero

and we just create

a roto shape

something along

these lines here

and I'm just

theorizing that

sort of the

shape of what's

off camera and

that's fine

cause we can adjust

and then let's just

go to frame

100 180 okay

so if we go

back to zero

I'm just gonna

full screen this

let's set it

right about there and

just rounding a few things here

there we go

okay so now we want to set some fall off

so you can select those points

and you can either hit the e key

and you can see the fall off occurring

or you can increase feather right there

if you wanna reset feather

feather so you can see what I'm doing

you can right click on those points

and increase feather

in this case

I'm just gonna hold it down and it

and it increases

and then I'm just gonna drag the points out to the

to sort of the

the distance that I think it would do

well let's just do this

I don't think we need this point either

but let's just do it anyway

just in case

okay so now let's

I'm gonna turn that off actually

so we don't see that red at the moment

it's a little distracting

now let's say that's frame one

I want to bring it to frame one 80

so let's go back to frame one

just reference

so this point right here

is sort of the left of the building

so let's go back over here and drag that over

I'm gonna say it's somewhere right about there

now obviously

these points completely are incorrect

so I'm gonna bring it down

and I'm gonna bring that in

and we're just gonna adjust a little bit here

in fact to the point that

now that I know kind of what I want

I might actually just delete that first keyframe

so let's go to the first keyframe

and I'm gonna delete keyframe

so now you can see

the only keyframe is the final keyframe

now I'm gonna go to frame zero

and we're just gonna take everything

and slide it back over

just like we were assuming it was going to do

and you can see then

that's very close

right about there

now the reason I'm not too worried about this

is because this is

probably gonna be fine

it's we're gonna do a

we're gonna do a very nice

soft fall off

and it should

should get away with a lot of

what otherwise you wouldn't see

now you can see

for instance

this point right here

it is sliding off a little bit

so just bring that back up

and we're just roughing it in

I'm not like

again like I said

I'm not too concerned with how

pixel accurate this is gonna be

because there's

we're gonna blur this

and it's gonna be quite a bit of fall off

by the time it said done okay

so let's go back to our reference frame of frame 100

and I want to basically

create a color shape that will go with that

but right now

let's take a quick break

and then we'll come back

to recap we've begun integrating

our 3D and live action elements together

to create the final rendered scene

and we will continue

and pick up where we're leaving off in our next lesson