All language subtitles for 10 - Technique for Integrating Light, Color, and Detail When Merging Elements - Multiplying Our Foreground Image into Our Background Image

in this clip

we will now continue integrating our foreground plate

into our background image

here comes the

the real trick with this

what I wanna do is I wanna take the denoist plate

this background

and I wanna multiply it with our background

this is Ardino's plate

comes from the main pipeline here

and I make a molds

which goes in with the background here

and now we set to over

as you can see

but we'd switched operation to malt

basically what happens now is that we multiply

the foreground plate with her on a

with the background B

so each pixel value on the foreground

gets multiplied with the background

and what you get is kind of a blend between the two

depending on luminance

you could sum it up to something like that

but it's easier if I just show you

so what we want

we of course

want a background to look the same as it did before

as after this operation

but with this foreground plate multiplied in it

and it's it's really easy

we you can press W and split the viewer between the two

so you set it something like this

where you can easily judge the values

then you put a grade on the background side

and now we're gonna commence to grade this up

in each channel so it matches the previous one

so press to the red channel press R

and I multiply up sorry

its viewer is of course

supposed to be before and not after the green

so now now you can see wrong affecting that area

so we keep multiplying up the red until

these two blends somewhat

it's not gonna be perfect

but we can get it pretty good

you can see a small difference in some hue

and that's because of the

the background that we molding it with

but that's fine

switch to Green's channel but pressing G

do the same here

gonna gain down the viewer a bit here

so we see what we're doing

so you can see that there's a

there's a difference here

and that's obviously because we're bringing

the color values from the foreground plate inside also

so you have to adjust this accordingly to balance

or you do a saturation note here and

and pull out all the saturation in the plate

before you do this

but I like to bring in some of the

colors from the foreground plate into the background

and this is blue channel press B

do the same here

can turn off this split mode

put RGB and now you can clearly see

that we molted in our plate

and we're actually getting

a really good amount of detail in there you know

we getting all of that hair detail inside

which would be very difficult

or should I say extremely difficult

to get using traditional keen

if you compare the background before and after

it still keeps a pretty decent hue

looks pretty similar

just intensity down a bit

but that's fine

you can see that

if you had tracking markers or something

you would have to remove these

before doing this operation

because you end up with them in the background

but since we're gonna blur this background

we're gonna easily get away with this

and since we made sure we working on the denoist

we're not bringing in any plate grain here

and what we do next is we have to apply grain here

and you can

you could try to apply back the plate grain if you want

such as we isolated before in our other operation here

where we retouch the skin

so let's just for the sake of it

plus this on

and see how it looks

see if it's gonna work for us or not

and you can see that now

we're getting some of the texture

of the wall into this background

and it's clearly not gonna work here

so in this case

we have to do something else

and that's where you can go back and use this

much overused regrane plugin from furnace

but it's it's effective at what it does

and this is the one we looked at previously in Module 1

and you can see that it applies grain very nice

gives a nice result on this

and next you're gonna combine

the foreground image with the background

so we have our pre malted foreground image here

and we simply gonna take that and merge it

on top of our multiplied background image here

that has a grain also

and I'm I'm even gonna apply this

grading operations afterwards

just to make it somewhat nicer

now it seems starting to look like the like the image

like the final image we looked at before

so just to illustrate how this works with the hair

if I do a road on my key and I start to pull the key

you can see that we bring it in

but there's a lot of detail underneath there you know

from this multiply keying with it or keying technique

so what we would do

is that we would do

a road operations like this where we isolate one area

and since we did such a nice mat for that before

remember this one

you just gonna

hook that one up

if we take a look at it

actually used to

pure matte

looks like that right

so you wanna invert it to only be out here

and then we put on the road here

and we start eroding it in towards the heritage

and hundred is a pretty good number

maybe even 200

and we set it to caution

and now we're pulling all of that key

that doesn't work back in

and as you can see we get

problem area here

and here you would

maybe go in and do a tighter garbage mat

which you blurring the edge to

not to blend this

we don't want this blue stuff

or you could even go in and maybe tweak the colors

where you multiply background with the foreground

to remove the colour

or maybe we just wanna reduce the blue here

like this and then you would have to tweak

the plate here

to counteract that grain

so you take this grade

do a reverse and put it on the background

and you'll end up in a similar one

but you still have to isolate and treat this

I'm not gonna go into the details

because you can study the project script later

but I'm just wanna show you this technique

so if we look at the plate

and we look at the end result here

you can see that we got a lot of this detail back in

a lot of it

and even though it seems pretty vague here

it's still all in there

and the reason why it doesn't read more

is because of the

the light you know

and if you grade it differently

the background

it will follow along

and reveal more of the detail

so as you can see

it's a pretty

pretty cool way of getting that hair detail back in

and it's pixel perfect to the plate

and then you just make sure you tweak

your garbage mat on top of that

to end up with a

with a good result so

since the main goal of this course is to teach you this

retouching techniques

and this background keying

or keying trick

is basically just a bonus

I am not gonna go into further detail

on how we finalize this shot

to look like this final render

it's much better

you head inside the project script

and you start to dissect it yourself

and look at how I added the eyes

animated the background

and finalized all the other features

to make it look like before

so in this module

we extracted a basic key

we multiply the foreground plate

into our background image

to get all the details of both images without key

and in the end

we added grain using the furnace regrane node

and this marks the last module of this course

I hope you found it interesting

and that you Learned some new tricks to apply

in your job as a compulsor

thank you very much for watching

and I'll hope I'll see you in a future course