All language subtitles for 14. Adding lens distortion, removing and adding grain

in this lesson

we will finish integrating

our live action and 3D elements together

to create the final rendered scene

first off I look at this

and I feel like there is just a touch more

that we need to do

for the contact shadow of the base of the building

in relation to the hill

the main area that I'm focusing on

is mainly on the screen

left area right here

along the areas that we already brought down

some of the highlighted areas

so what I'm going to do is

I'm actually going to just create

in a very similar setup of what we already did

so if we highlight the transform

blur and the merge

in control C

Copy control V paste

connect that transform over the shuffle

connect the merge B input back into the roto

and then I'm going to add a second color

correct right here

first connect your mask

and then connect that into the pipe

and what I'm going to do is

I'm going to try setting that transform

instead of going so far down

I'm actually try setting it around 30 pixels

I'm also going to set the blur a little back

so it's not quite as soft of a fall off

now in the color correct

just to see something

let's just crank it

okay so you can now see the areas that it will affect

that's good to know

let's put that back to one

and let's just try that

at about half that that

that's something like that

now you know

the issue that we're having here is

it might be better to do it in the midtones

let's just try that

there we go

so basically

what I'm looking for is

I want to flatten out the color in that area

so it seems to blend just a little bit better with

the building

I think that

that actually looks a little better

you can see

with the difference right there

where there's just a little less highlights

it starts to feel like it's actually

seating a little more properly

um we could also try just in the master

touchdown I might

might something like that just

just to give it an overall darkening

I think that doesn't actually

I heard it in fact

I think it helps it

so now let's move on

now that we have that taken care of

the next step that we need to focus on is

we actually need to add lens distortion to our

our 2D 3D created uh

image because obviously

there is a certain level of lens distortion

that's coming from our live action element

so if we go back to our camera tracker

we actually can select that

and under the

the dropdown menu for exporting

you can actually set it to distortion

so you select distortion

and you hit create

it now creates a lens distortion node

and we break that

connections

we aren't using the that as the source

and we're gonna bring that over here

and we're gonna actually connect that right in

after we've merged our two elements together

so let's just select this

move it out

and then let's drop that in

now if I turn this on and off

at frame 100

you really aren't gonna see much

but if we go to something like frame 0

where the camera

or where the building

is closer to the edge of frame

if we turn this on and off

you can actually see the difference

you can see that distortion right there happening

so when I turn it on

it actually makes more sense

so let's just leave that for now

the expectation is

it would start to stretch a little further

towards the

edge of frame

based upon the fact that

it is a wide angle lens

so if we pull it over here

just kind of picking some random frames to see

you can start to see

it starts to pull towards the edge of frame

on screen left

as it gets closer to that side side

so now that we have that set

that's correct

you typically

are always gonna add some sort of

either a lens distortion to your cg

computer generated elements

such as this

or you're going to add an un distortion

set to your background

play anything

live action

so that then

you can apply

some sort of

lens distortion

to match it

to whatever

your computer generated elements are so

so one or the other

needs to have some

either distortion

or undistortion

so okay so now

let's move on

now the next step that I want to hit is

I want to remove the noise

in the background

the live action background plate

so that we can then add

an overall grain

effect to the plate

so if I hit the tab key

and I type in d noise

we bring up a node

that is called Denois

I'm gonna drag that

and drop it

right there

and what it's going to do

if I full screen here

you're going to

see a little

target region

so what we wanna do is

bring that over here

into the center somewhere

for it basically

to analyze the grain

and the noise

I apologies

and it will

to begin to remove it

now what we're going to be using is

our source is not film

it is digital

because it was shot digitally

so we're gonna remove

digital cause that

that will have a different operation

you can pick

either constant

or modulated

noise model

I'm sticking with modulated

the profiles constant

that's fine

the output result

that's correct

and all this

if you feel like

it's denizing too much

you can you can

back off on

the amount of denizing

roll off smoothness

all these are

I'm gonna leave them as

default right now

because that

seems to work

I think well

for what we're

trying to do

for this now

if we zoom in closely

and I'm actually gonna

view right here

if we turn off

you can kind of see

it does start to soften up

and you can actually

see some of that noise pattern

actually disappear

so if we go to

the blue channel

you can actually

then really

see some of that noise

kind of drop right off

now keep in mind

whenever you

denoise something

you are going to lose some

level of detail

in your plate

so you have to keep in mind

that end result

is sort of you know

take one to give to another

kind of thing

so you you you can

back off on the

melody noising

if you feel

that it's too much

if your image is

getting too soft

then I would recommend

considering

backing off on it

but for what we're doing here

I think this

should just be

be just fine

so now now that we have that our

our next to

final step here

is to basically add a

um grain node

at the base here

and what we're going to do is that

that's going to

basically grain up

the overall image

so I apologies

not a grade node

haha we'll hit

the tab key

and start typing in grain

we bring in grain

drop that in

right there

and at that point

now you can see

that there is a definite

amount of grain

I would say this is

this is too much grain

in my opinion

um the other thing

that we have to keep in mind

is actually

you can see

that our alpha channel

is not solid

because of our

up order of

operations doing

so what we need to do

cause the grain note

is based upon

it will grain

based upon whatever

alpha channel is there

so prior to that

I'm gonna add a

shuffle node

and put a solid white

and now you

can see that

we have a nice

heavy grain

applied across

the board now

that's obviously

way too much grain

so what we're going to do

is just basically

come in here

and you can either

use some presets

just to kind of

set certain

grains that

grain patterns

that you might want

there's not many

to pick from

but you can pick

you know pick one

as a basis to start

possibly so

you know what

I'm just gonna say hey

you know what

I'm gonna pick that one

you know what

I actually don't

like that one

it's kind of

making the sky

a little too

green there

there we go

that's better

so what I'm gonna do is

I'm just gonna

leave it at that

default one

and then but then

I am going to

back off on

the intensitys

of everything

so I'm just

gonna bring down

and typically

your blue channel

is going to have

greater amounts of green

than your red

and your greens just

just typically

so we'll do that

and then I'm

I'm just arbitrarily

picking a green uh

level at the moment

but normally

you're gonna

match it to

something but

in this case

what I'm matching to is just

is is nothing

because we're

denoised our live

action plate

to introduce

additional grain

so at this point

I think we're

in a good spot

the one very

last touch that

I would like to do

is add a quick

little transform

so basically

from the first frame

to the final frame

I'm actually

wanting to do

just a slight

little pushing

in addition to

the current

camera move

so at this point

I'm gonna set

the scale to

you know key

the first frame

I'm gonna go to

the final frame

and I'm going to

set that scale

to one point

to that should work

and what I'm also gonna do

is go back to the first frame

and I'm going to set the

translates X and y zero

then I'm gonna jump back to that final frame

and I'm going to shift it over just a bit

so that we don't lose the building

as that push in occurs

I'm gonna bring it down just a little bit

there we go

and so the idea being that you can also

in addition to your live action camera moves

that we have match move to

we can also then augment it with a little bit of

additional camera move that

that might be what the directors required

or something

that in this case

is just up to personal taste

I kinda just like the idea of it panning

but also pushing in closer to the building

like it's getting a little closer now the

the thing to keep in mind

at the end of the day is

we're working at 4K

so when you downrez that

you don't need to worry

because you're not

even though you're scaling it up

past that hundred percent Mark

you're at the end of the day

going to still maintain a level of quality

cause you are downrezing it

to half of what it currently is

and that should complete

our lesson on how to set up the shot

but the final step that is

you required when you're working in compositing

is you typically do a final sweetening pass

now the Sweetening Pass

is basically a quick sanity check

to ensure that the shot you're working on looks correct

if there's any final

tiny little tweaks

that are required

to adjust the shot

to make it best possible that it can be

when I'm looking at this shot

I feel like that

the fog is just still a little bit too much

especially after we've added the grain pass

so I'm just gonna go in and back off on that fog

and just see where it sets

so if we just take that slider and

and move it over a little bit

I think something closer to that level

actually feels a little better

I think that the fog was just a little too drastic

it started starts to wash out some of the darks

in the building

and it just kind of loses some of that nice detail

that we had

established

and utilized

from the matte painting that was provided

so I think at that point

if we just do a quick check

that with or without

you can see how it just kind of

milks it up a little bit

I think that actually

sits a little bit better

so at this point

I think we're going to call it a finished shot

and it'll be set up for rendering

at this stage

what you'd wanna do

is you just add a quick

right note down at the bottom

and render out your sequence

and you're good to go

you can also do a reformat

to reformat it down to HD

if you would like

and at this point

I'd like to thank you

for listening to the class

and going through with me

it was a lot of fun

and to do a quick recap on what we actually Learned

was basically

taking 2D elements

m 3D and 3D image

projecting that with

using a 3D camera

to be able to establish

from a live action scene

and that should complete our course

thank you so much for listening

and I look forward to the next

project with you