All language subtitles for 3月5日 (8)

okay in this lesson we're going to talk about the IBK

gizmo color this is the most widely used

key in the industry both in commercial as well as film

so I want to talk about a couple of different

methods that people use when approaching it

now

when you're using this key

you have to choose between this or usually

key light in regards to what will be the key

for green screen type of work

there's also of course

the luminance key here and so forth

which is basically a key

so if I just type in you know key or whatever

this key has you know

green screen it has green key

so there's a lot of

key there you could use as well

if you find that those are useful

but the most common ones obviously are key light IBK

color IBK gizmo

so

I just want to kind of go through

what I've Learned about the IBK through

a lot of industry folks

I'm going to go ahead and type in IBK color here

now it's common

there's two different techniques when doing the IBK

gizmo

and you'll see this a lot within tutorials and that is

there's what's called the daisy chain operation

which involves a whole bunch of IBK colors

that are sort of

connected together

like this you know and

that sometimes work and sometimes it doesn't

it's really

I like to try both whenever I get into a key

and this is a perfect example with Jack here

because you're gonna find

as I get to a certain

situation like right here

where we have this little hole here and this is real

there's actually

like he's wearing a weird sort of

thing I put around his neck

try to make the scene look futuristic

in my own pathetic way

but there is this hole here as you can see

which is like green

and it's hard for

the keyer system

to get a hold of these little areas

so the sampled color

of the

you know of the difference of what's behind there

you know it's 50

50 and give you weird results

when you're doing the stack method

or the daisy chain method versus the regular method

so let's try the first method

and I'm going to compare the two

so I'm going to first start with the IBK color

obviously plug that in

put my viewer to it and obviously once again

we got to switch this over to green

and here we have the default size 10

which is always a good start

and then we deal with the darks so I'm going

to take the darks here

and I'm going to go ahead and put a value of says

001 is usually what I like to start out with

and then I put my cursor on the one

and use my middle mouse scroll wheel

to sort of basically

suck in the image until I start to collapse everything

you can see what's going on here

as we do this

we are slowly moving in

and then eventually we are going to have to erode

so if I go ahead and take a look at this

we are trying to encapsulate everything here

so you can see the size here is sort of like a

you know it's an extension of a blurred so to speak

so you can see if we put this at 10

kind of blurs the image a little bit

so if we go all the way back down to 0 here

right this is what we have

so we're going to leave this at the default 10

and we're going to do our best to deal with this

now the common way you do with the

green darks here is you'll keep moving until

it starts to explode

so it's the explosion you're looking for

the explosion is when you

start to pull this back in a negative value until the

scene here starts to

create this starry you know

green little dots and so forth

you see how it just explodes off the side

and again it has

to do with the luminance values from left to right

so I'm going to go ahead and just kind of do this

until it gets

basically right there

so again I'm trying to get all that data in there

and again you can also bring this down if you want

if

you find that devalue of 5 actually works pretty good

you can do that

but you can see how

the kind of artifacts we're getting here

so this is sort of like pre blurring

the scene to a certain

extent

so it's the color expansion

so I'm gonna go ahead and put that to 10

and now it comes to the fact that

you know we can come in here and then start

you know eroding this

oh we can do the patch black

if we start doing the patch black immediately

you're gonna see that where

we haven't engulfed or you know

basically the parts of the image that we need to

because it's taking this

pixel value here which is black and

smearing it this way

I mean I talked about this before

where it's just smearing it towards the normal center

that's what's happening here

and that's why the value is darker

which you know

if we were to tell Jack the gal the way this

is not the color that would be back

there would be this color right

so I'm going to go ahead and just do

I'm going to pull this back

on the patch black again

and I want to continue to encapsulate this by

using an erode

so you can see as the erode hits it

and then we get some issues here right

well

some of the ways to kind of combat that is using the

green light so I'm going to put a value of point

one I put 1.1 in here

there we go and you can see if I start

cranking up the value in a positive

number above 1

we can start to back off that

explosion that's happening there

so I'm going to go ahead and kind of back it off

like that and again

I'm going to start to increase my row

which I might overcrank past the value

the highest value goes to 5 but you can keep

cranking that

until it just keeps going and going

and going and going

the problem with this

is that if we take a look at the original

what we want in an ideal world

is to have whatever value this is

actually be brought here

but what we're doing

as we continue to

erode further and further and further out okay

is we're going to be choosing this value of green

and that value of

green is what's going to get

smeared in and used in the difference mat

so again in an ideal world

this is where the stacked version of the IBK

color works in

it's to get as close to

the value just before the nostrils starts to

fade into say

the green screen here

which gives us a different variation of green

but we're basically trying to recreate the

green that's behind him in real life

okay on the set when he was on set

what was the green that was right

behind it well it's probably the same value as this

right not this

so that's what's important here so

again as you can see we crank this down

we've got

you know brighter values darker values around the edge

and so forth

but let's go ahead and see what's going on over here

right here it's going to take this value

of green and it's going to smear it

towards this area

and it'll be whatever values here

which is probably true

the value that's here is

probably the value that's over here

but the further you get away from

what you're going to smear over

it's the more variations

you're going to start to lose detail or

things are not going to work out well

but again I had found that

there was a lot of people in the commercial industry

that were like

oh oh use the stacked stack method of IBK color

which I'm going to show you in a minute

and it works so much better than the

just using one IBK color as

opposed to a whole bunch of IBK colors

and we found that it depended on the shot

honestly dependent on the shot if it worked for

the better for the worse

so I recommend

always kind of experimenting with both methods

so here's IBK color

and I've

eroded it down so that there is no remnant of any

you know

blurry edge because this guy is really out of focus

we shot this at like a 2.0

f stop so it was pretty

pretty blurry along the edge there

and now I could start patching in

so now that I patch black

it's smearing in that color in

and that's what's it eventually going to do here

so I'm going to just

grab this use my middle mouse screw wheel

and just go ballistic on this

I'm going to go

keep going until it just sucks it all the way in

and there we go

now if we compare the original to this

it's as if Jack got out of the way

like we told him get out of the shot Jack

so the value here though

is most likely that value there

I mean it's probably not too far off right

again this is the same color

all the way across the board here

there is no gradient here

which probably existed but because Jack is

nowhere to be seen in this shot

you know I mean

occluding what would be the background

this information isn't too worrisome

that we have this sharp fall off here

as opposed to a gradient

but what's important is you can see if I just take this

the value is the same between here and here

see that I mean roughly I mean it's pretty

pretty rough there is a variation of change here

you can see as I scrub back and forth

the values of red

green blue are changing

but in general it's holding up pretty good

so you just

keep it simple

you just gotta

go back and forth between your final IBK color

and your read node and go

does it look like I told Jack to get off the screen

get out of the way

and it's the background

and don't worry about this weird sort of like you know

area here that's you know that looks kind of

you know it's kind of an abrupt

you know contrast between two different edges here

but you can see it does look good right

okay so that's one way of doing it

so let's go ahead

and I'm going to show you another way

so I'm going to go ahead and put IBK

color in here again

and I'm going to do the stack method

so let's go ahead and put that in again

we got to switch this over to green mode here

and then again I do the same thing again

I put like a point one value in here

and I will start to crank that up

get it as close as I can

and here's where things can get messy

and that's where you might want to

maintain this area because

the green that's behind him

might actually be a darker green

but in this case the hair

from the size is actually causing an issue

so I'm going to take the size down to 0

right and you can see what it's trying to do

I'll probably add let's add a value of 1 there

so you can see it's a lot darker

so

keep that in mind as we go through this process right

so I'm gonna go ahead and

try to get as close as I can

and again you can see we lose it right there

so I'm going to go to my

lights and put a value of 1.01

and let's start to

crank that up so we can clean up that area

there we go

you're gonna have the more of a badly

lit green screen you have the more

you're gonna have to start

fiddling with these two values

because there's such a contrast and luminance

between the greens here

and say if you had a little bit of a patch of red

like dark red over here

maybe a flare from that light

you'd have to come over here to

maybe the red lights

whatever the color it is that you see is

polluting your

green screen

that's the color that you want to actually

dive into

so in our case we have a very warm light over here

and if we had a flare

we can you know

fill it with the lights in the darks of the red

and that should start to cancel out

those areas the same thing with blue

obviously we don't have a blue

green screen in this circumstance

but you could also fit a little bit with this

mostly you will usually leave

these alone

but mostly you're fiddling with these guys right here

so now that we've done this

you can see the reason why we do this

is so that we can get

a closer value as opposed to having a value over here

smear it all the way in and sample as the

actual back plate or clean plate

we want to get a value that's right here a lot closer

it's going to give us

a way more accurate

reality

okay so with that said you can see that we have this

and again I'm just going to go ahead and

bring this in a little bit more

you can see it keeps breaking

again I'll bring this up again

a lot of your work

the quality of your work will depend on how well

somebody lit the green screen

I purposely lit this like crap

and you can see we got a hole here

so I'm going to go ahead and just erode a little bit

try to erode that in a little bit

and again I'll drag it in just a here

and you can see we've already lost this area here

you know which is not good

okay so now that I've done that

I'm going to take this IBK color

copy it right

and again

you can see I didn't do any patch black on this one

right I did everything here the size is very low

now I'm going to take this guy

and now we're going to patch black this at 1

and you can see what happened

it has taken the values here and trunk them in

which is what we want right

so here you can see the value here

is going to be the value here

it's not going to be the value way out here zoomed in

so

this is an incremental process

with the patch black

again I'm going to take the erode I take it down to 0

so here's the first one

here's the second one

so you can see what has happened

we are introducing a gradient here because we didn't

get everything

so if you see a gradient happening here

which we can see here very subtly right

if I bring down the

slam the gamma here you can see the gradient

so if I go back to my original IBK color

I might need to erode this a little bit more

you can start to see it go away

see that

so again we're getting a little too crazy

but there now all of a sudden we don't

we don't have that contrast right

now we got to see if this screen explode

no it didn't

problem is this valley lid green screen is so bad

that you know you could

like I said you could come in here and fiddle with

the blues so you can come in here and do like

blue lights I'll do point zero one or something

and you kind of fiddle with that

and so forth

so you feel but anyway

with that said let's go ahead and take that

and again

we're going to copy and paste this this IBK color

and basically going to be

squaring the value here

so

let's go ahead and put this to 2

okay so here's the let's look at the progression one

2:03

see it's slowly getting sucked in

and those

why is this important

well

if you did have little circles and holes in your scene

small little patches

it's going to localize to that area

so that's why it's important

not so important on this shot

but if you had like that little hole there

if we managed to maintain that hole

so if I come back here

you can see I haven't maintained the hole at all

because we had to

erode so much

but it would actually shrink it in

I'm going to show you this in future examples as well

how it's beneficial

so again to the next one we're going to go to four

this is keeping everything

localized in regards to the localized

sample of the green screen

and then I'll take this again

copy and paste it come over here make it an 8

and then we're just doubling it each time

so again this one's going to be 16

Creative Lions Tutorials is a great YouTube site

I'll put a link in the YouTube for this

check it out guys I'm telling you this guy is a genius

he's worked at almost every studio

I mean he's an absolute genius

and he's been really kind to put

training videos online

and you could almost say that

what I'm showing you here is a

certain extension

in the future episodes of this

of what he did

but I'm kind of showing you what

I Learned in the industry

which

is a combination of that and what he has done

so you can see this one is 816

and now the final one we can go ballistic with

we can take the final one and close close up shop

so I'm going to take this and just keep

pulling this until we get

this thing squeezed in

like that there

so let's take a look at the different variation

between the two

so we have and again

I'm going to try to organize this a little bit nicer

for the sake of presentation

there we go

these up

stack them nicely

okay so here's the difference

1 2 do

you see a difference there

there is a luminance difference here

here and here

and then over here you can see

due to the fact that we probably didn't erode enough

we're getting the

artifacts so when you see this and this is hair

and this is why I always say

there's another method I'm going to show you

when you're dealing with hair

with lots of transparencies in the hair

such

as such as Jessica here

Jessica has you know

all these little details in the hair

that's going to be very difficult to erode

not get these weird smearing artifacts

so you can see like what's this all about right

well let's investigate

let's go over here

it's probably the fact this is a very blurry edge

and we didn't erode enough

so if we go back to our first color

you can see we did get it

but I don't think we got everything

so you can compare the two

you can see there's still some

slight influence of this right here okay

so

again I can come back to my first IVK color

put my viewer here

and see if I can kind of get rid of that

oops actually it's this area right here

let's go ahead and take a look at it

there we go so there's the issue right so the the the

the problem child will always be your first IBK color

so if we go ahead and take a look

compare across

compare this IBK color with this IBK color

you could see we

still have the influence of the gradient

of the you know visor glasses coming out too far

so I may have to come into this first IBK color

take the erode and just

crank it up just a little bit more

and then you'll see this as I kind of

look at my last IBK color it's going to propagate down

and again I'll take my road and

pull it back just so you can see

see it

go ahead and kind of add some contrast here

so you guys can

kind of see that

so you can see it there

and it's good to slam your gamma a little bit

and you'll be able to see this

so as I increase the erode on the first IBK color

you can see what's happening here

the key on all of this is to have your IBK color

your first one as close to the edge as possible

but still encapsulating all the goodies

now as we increase this

you can see that we're really starting to reach out to

points that are further away

and here's where problems occur

along the edges here

because now we're having an issue where

you know we've encapsulated this area

so this color is what's going to get

finally brought way up here

which we know the luminance difference between

here and here is very very different

so that's the only bad thing

so let's go ahead and see what we get in the end

put this back so here's the first

here's the second

let's take a look at the two

they're not that far off actually

they're not far off

and again the benefit of using this

technique is if you have a lot of

Swiss cheese holes and whatever you're dealing with

whether it's a set where there's a million

pieces running around you know

in your set and there's like little

tiny holes in between

the different things that are being green screen

that's when you want to use this whereas this

again works pretty good as well

so let's look at the cross comparison

between these two and again

apples and oranges

you're gonna find that

it's gonna work or it's not

gonna work so I'm gonna go ahead and

create a switch node really quick

and I'm gonna plug this one in here

and this one in here

and I'm going to use my foreground object

as the original plate which we're going to go ahead and

we should have done was we should have denoised this

but that's okay

let's go ahead and put that into the color

and now

let's go ahead and just take a look at the difference

so this is our first one set up

and again we need to set this to green

so I'm going to hit a for alpha and just see

it first what we have

so this is actually a you know we want this mucky

area here probably

the degrain will take care of a lot of this noise

but you can see if I kind of sample this all down

Ctrl and shift

and you can see the values here are point 00

I'm sorry point 01

this is actually acceptable to put on a back plate

believe it or not despite the fact that it's

very noisy here

because the reality is is any value between 0 and 0

basically point 05 or lower

is acceptable and usually won't hold a

trace in your final footage

in the sense of

what's commonly called your fringe mat

which this would be your fringe mat

a core would fill in all the holes

you can see

we're having issues with this highlight here

on the nose we're having stuff here going on against

it's really

important for you to look at your footage and examine

what is going on

like why is that and play

through the footage

see where you're getting holes

and you can start to see where your palms are

now here you can see all the hair detail

I'm going to go ahead and put my viewer

to this and you can see

we're getting all this here in detail

and sometimes to check this I will add a shuffle node

this is sort of like a quality assurance check

and I will take the

shuffle node and flood my alpha channel

to my RGB

so now as I'm looking through this shuffle node

and I go to RGB

I'm looking at

the alpha and now I can go and look at the original

so you can see how much detail I've lost

how much it may be going a little bit overboard

look at the matte line this is the gradient here

that looks about right

but it probably could be

crushed a little bit because you can see the

actual luminances

a little bit further out here

so if I go to my IBK color

there's a couple options here you can play with

one is the red weights and this is the red bias here

you can see if I kind of go back and forth

you're getting you know back

it's usually you leave these by default

most composer tell you to not really touch these

if you do you maybe move them about this far

you don't go any crazier than that

so let's go ahead and play with the blue

green

which basically means that if you're doing with a

green screen

you're only usually adjusting the blue weight

and if you're using a blue screen

that means you're using the green weight

so this is not blue and green

this is actually just whatever the opposite of

your screen is

so in this case we have a green screen

hence this is dealing with the blue weight

so you can see as I kind of refine this

it's looking good over here

let's see how it looks over here

as we're bringing back all of the

reflections here

so it is a double it can be a double edged sword

we have a luminance match which we can click

and that will

start to restore areas

such as where there is the highlights of the nose

you can see right here

so for instance if I go back to

in here and I can play around with this

you can actually take your luminance match

and you can start to bring it up and down

so you can see if I just

kind of bring it back

and luminance level

usually don't want to fiddle too much with this

you can see how it

can be used to kind of

somewhat bring back the detail there

but it also introduces some stuff

so I'm going to go ahead and leave that off

and you can see luminance match can work

in bringing back areas of bright highlights

so let's go ahead and just see

the influence of that off and on

always look at the off and on

see what you've gained see what you've lost

so that's looking pretty good

you also have auto levels on here

this has to do if you have highly saturated colors

such as highly saturated yellows cyans or magentas

in our case in this specific case

that actually might work to advantage

again we can come in here

and just play with these

the more you fiddle with

the more you

again I use the word quoting tampering in God's domain

the more you're going to have a lot of issues here

so if I turn this to yellow right

you can see that it's trying to do its best

but you start to get a harder

edge in the midst of that

so again I could use magenta

and you can kind of see

if it's really

kind of

bringing back all those heavily saturated areas

and again I would say we just leave it off

again you could try yellow

something a little bit

but yeah

you gotta fill it with it now screen subtraction

use background luminance use background chroma

I don't want to get into this

there's other tutorials that go over this

this is more longlines

if you do all of your composing within this one

composing node

just go online and look up a tutorial on IBK Gizmo

and you'll find out how to do this

Steve Wright is a great reference for that

but again

we're creating the mat here

we're not worried about

anything else

although these are very very useful tools on their own

if you compose it straight in

but we want to make a separate mat for

the actual mat

and we have a separate area for the d spill

which is the RGB information

and we usually combine the two

so that'll be in the next video

I'm going to talk about

but anyway

so with that said we can come in here now

I'll go ahead and get rid of this shuffle note

actually I'll leave it in

all the way at the bottom as a

quality assurance test

and let's go ahead

and again I'll switch back the Alpha here

and now I can come in here and then go ahead and just

do a simple

grade node here

so take a grade node I'll set this to alpha

and we can go ahead and start to crush the blacks now

there's a big debate on the alpha

that precedes the IBK gizmo

some people like using

crushed black points to get rid of some of the noise

right

again you're winning the battle but losing the war

as you can see as I crush this

the hair is getting chopped

there's also the option to

click on such as white clamp here

and kind of fiddle with

the gamma a little bit

that's another option right

and also some people sometimes play with the multiply

option bring back details

so those are the

three biggies that you'll commonly see

within this gray node

another option you can do

I'll go ahead and just leave this on

I'm going to offshoot this

and I'm going to go ahead and choose what is

the color lookup

the color lookup will allow you to

and there's a whole bunch of other tools you can use

here is if I go to my alpha channel here

in here and again I'm going to affect the alpha

is I can take this here and hit H to make it horizontal

and I'll put this and make this H make it horizontal

okay

so now what you can see is we are crushing the whites

up to a point 9 value

and crushing the blacks at a value of point one

right you can kind of imagine this as being a zit

zit zit like a Z shape

but it's having a fall off of a gradient

which gives you a nice

more pristine look than

say if I come in here and crush the blacks

which is more

linear in nature not logarithmic

so you can see the difference

between the two

so let's go back to the

color lookup and go back the alpha here

and what you can do

is you can slowly start to inch this by clicking

grabbing it and right click

left click and dragging it over

you can see we're sort of dragging in and cleaning up

we are cutting off his hair right

so there's all types of things you can do in here

you can actually come in here if you want

and you can go ahead and

click your left mouse button and drag this up

and this is giving you

a logarithmic fall off for the crush

you can see it back and forth

so that is an option that you can use

let's talk about the

switch in between the two different versions here

I'm going to go back to my IBK gizmo here real quick

and I just want to show you the difference between

the old version new version right

so let's go ahead and click it

and give it a minute here

you see a difference

most people would tell you

that this method is

always use this method don't use this method

oh no no no always use this method

don't listen to anybody that says this always works

it always works it always works

not everything works in every situation compositing

so just be aware of that

do you notice that there is a loss of hair detail

look at that dramatic loss of hair detail

now why is that

well let's take a look at the two different versions

here is

go ahead and go back to RGB

there's this version and this version

we have artifacts here

you know

in the process we didn't erode further enough out

as you can see

that is one possibility

so if you see any weird artifacts here that are

going to be an issue

the other thing is there is definitely

might be a little bit of illuminance change

in between the two

variations and that is because in this gizmo

let's take a look at it

we are sampling

a value

that come down here kind of move through this

you're going to find that

we're going to be sampling this value

all the way up here

so you know

it's the distance of a different variation of color

that gives us a little bit of a difference

so again you can see the difference here right

and then anytime you see this kind of stuff

is a big warning sign

okay that's what's going to probably cause issues

and a lot of it has to do with your first IBK color

we go back to it

you can see it doesn't include this hair

material here

so one of the ways around that is by introducing

inclusion of the mask

all this is doing

if I put my viewer to this color node and a for alpha

is it's basically defining an alpha edge

that's all that's going on here

so you can see this area right here

is black right

so what I could do is I can create a

I can come in here and artificially introduce more

of a cut out mat

so I can go ahead and add a merge node here

and this is common

when you're doing with people with heavy

fluffy hair like Jessica

you know with holes in it

and the

erosion process and the keying process because the key

or the background color is so different

in the variation

again if you have

you'll have to do this most likely

if you have a poorly lit green screen

is to come in here and manually cut that stuff out

so I'm going to go ahead hit 0 for roto plug that in

so let's go ahead and look at our viewer here

and I'll go back to my RGB

and I'm going to purposely cut out

this area here whoops

I want to use a Bezy a cusp

let's go ahead and use a Bezy a

and I'm gonna go ahead and get as much of this

crud out of here

without affecting the original

piece

so now you can see

if I take a look at my alpha edge here

I have to put my merge mode to

stencil

and now you can see I've cut out or added to this

this is the defining line that's going to be used

as the smear line

so whatever pixel value

that is here in the green is going to be smeared in

so again I come into here now

and you can see it's doing just that right

and in this case

obviously it's grabbing this value

which is if we denoise this

we probably have a better

better deal here

but again I might need to take my roto node

push it out even further

and it doesn't look like it's doing much

so you can see in this case now we're getting this

interesting artifact

and the reason why this is happening

is because this is not alias

so you can see

it's anti alias we have this kind of hard edge here

so one of the ways you can do that

is you can add a grade node in here

and you can go to your alpha channel put it to alpha

if I take my white point

and I drag it to 0 I get absolute hard edges

now let's take a look at what we get now

kind of go down the pipe here to this color node

there you can see that's gone so you can see without it

we're getting an artifact because of the aliasing

or anti aliasing but once it's a hard edge

we're good to go

so that is proper now

so let's go ahead and look at the final result

and again I'm gonna go back to my alpha

and look at that

now again

we probably could denoise the plate but you can see

an introduction that's different

let's go ahead and turn this stencil on and off

we'll see what has happened now we've retained

these new hair follicles

you see that

and that's all because

of the fact that again we can clean this up

if we can't go down the chain here

get to this stage

and these values if we sample them are actually

point 0s or two

which are acceptable to be laid onto an

actual backplate without being

visible as noise

so just keep that in awareness as you kind of do this

so this is a great technique for

taking out stuff and so forth

so again

this is the different methodologies that you can use

they work really well

obviously we need to create a fill mat for

this area here or

a core mat I should say

that actually fills in these areas

there will come a time though where we will

probably have to come in

and do a little bit of paint work

or animated roto work

specifically maybe around the edge of his head here

so if we go to the original footage here

you can see we have this green influence here

on his

you know it gets pretty close

see if we can find a good good frame here

okay so this stuff this stuff can be tricky obviously

so you can see if I put my viewer to the gizmo here

and go to a for alpha

you can see this sort of work in here

and that's where we do some roto paint work

so we're going to get into that

but again I just wanted to show you

you know of all of these different realities

what it best works

and then you can decide

maybe I gotta use the key light for just

one little segment here one little segment here

sometimes you will want to use the key light

just to be aware

so as I was talking about this stencil method

if I was say doing an example here of Jessica

so I'll jump back to RGB here

and you know in Jessica's situation she has these

you know hairs here that are all over the place

you will never be able to

get a hold of that information

you can see there is a variation here right

this screen is different than this screen here

that's why it's so important

to light your green screen really well

and I purposely made this green screen lit badly

so that we can do this example

because

even if you tried

if you can get a little sample of color here

there's going to be pollution by

your hair in the shot due to the blur

so you're going to have to sample

way out here to bring it in

for this and the best way to do that

would be again use that stencil method

and come in here and just maybe chop out this here

here and put a stencil in

you could even go as far as

out here

that way you maintain the erode

settings but you're extending it manually with this

and of course

you're going to have to animate this as well

so in the next tutorial

we're going to talk about d spell

before we get into our Uber key