All language subtitles for 10. Utilizing roto to animate lighting

in this lesson

we will continue adding additional

toody lighting effects

to augment our mushroom cloud explosion

so we left off having just split out

with a merge node

we're going to be able to do an overall

general lighting control

and then animate it

based upon how we blend it with the original

so at this point

we have our

our overall lighting effect that we had done on frame

if we just jump over here

you can jump back to frame 87

and I think that is going to work

not too bad

we we I think we still need a little more work on it

but what we can do is just take that row shape

and now that I'm looking at

I think we should probably consider expanding

that region of lighting just a little bit

bring it all out

there we go

and increase the fall off there

if we just actually go to full screen

it'll probably be easier to see

and then bring that out

there we go

so just adjusting your feather

and it's all about kind of finessing it

and seeing where things go and that

that doesn't looks too bad

okay so now

what we're going to do is adjust our overall setup

so we have our color correct here

that's where we're ramping up the lights

that's perfect

and what I wanna do is

I'm going to see where does

where at what point is this going to be

adjusting and affecting

and when do I need to back off on it

to a significantly less amount

so at that frame 87

obviously we like where it's at

so if we go to frame one 30

alright so one 99

you can start to see it starting the fire

the fire is starting to dissipate

so at this point

I think you know

around frame two 50 to 300

somewhere in that range

so if we pick frame two 50

just for an easy round number

I think at that point

we would probably consider

backing off a bit on the lighting

because you can see

when we turn that off

it starts to see a little better

cause you can see

it's turning more into smoke behind there

not so much flame

because the fireball

and the flames are starting to uh

reach upward

into the actual fireball

or the mushroom clouds

so let's put a key frame right there

so set key at 2:50

I'm gonna back off on that

to basically point one

so we're just basically adding

just a touch of lighting

in fact when I look at that

I honestly think we should consider

just turning it off completely

so alright so

our mix is at zero

let's leave that at that for the moment

now if we go back to our key frame

actually let's go to about frame one 50

so 100 frames prior to that

and see where that puts us

if we then bring that up to about a 50% mix

and turn it on and off

and just kinda see where things see

that's not too bad

it's it's starting to

it's showing that the fireball is still there

it's still uh

the flames are still there

so it's still gonna create

some sort of a lighting effect right there I think

and then we bring it back to somewhere around frame 75

and at that point

we're really

obviously uh

punching it

because you can see

the fireball is pretty hot and heavy

at that point

let's jump to frame 100

and see how things look right there

this is obviously

another example

of where we need to work on the defocus for this

that's fine

we'll deal with that uh shortly

um and yeah

you can see kind of

the lighting change right there

that's not too bad

I think uh we probably want to get that to more like uh

point seven five

or do we wanna just take it all the way up

I'd say point seven

five is probably a good mix

right there

and then we bring it back

and this is when

the cameras

already whipping over

but at this point

I think it would definitely be at 100%

now what we're

gonna need to do

is we want to

obviously uh

take some of these keyframes

kind of remember where those keyframes are

but we can then

add some animated lighting

effects in there as well

so what I'm going to do is

I'm going to

for the roto shape

I want to actually expand that out so uh

for the blur

first off I like

where the blur was at

frame one 50

I think let's just reference that

and see yeah

I think it's not too bad

let's just add

a little more feathering

there we go

okay so if I keyframe that blur

at frame one 50

and then we go back to that frame 50 point

we can call that

sort of our APEX

so to speak

and everything prior to that

just gonna be all nice and blown out

uh what we're gonna do is

we're gonna add in a road

so in here we're gonna hit the tab key

and type in E

R O d e road

use a fastie road

dilate node

and what I'm going to do is

I'm actually going to

dilate out that roto shape

and we're going to animate it

uh to to be

actually a lot larger

and a lot more inclusive

of what's going on so

uh first off actually

I apologize

let's go back out here

and let's just

keyframe set that

rotate at zero

on the keyframe

and then jump back to frame 50

and what I wanna do

is let's try

let's just pick

an arbitrary width here

little more

encompassing

that's good

and then the height

I think it we could go you know

add a little more height on

I don't wanna go too much higher

though and then

on the blur node

what we're gonna do is

cause you can see

it's starting to

you know it's cutting

and everything

I wanna obviously

soften all that

so we're gonna blur that

let's set that to maybe 200

and see what it looks like

that's still a little too hard so let's

let's go to 300

and see what happens

there we go

so now we're starting to get more

in the realm of

what I'd like to see

so you can see the

oops the before

let's just turn this on and off

so basically

you see the

color correction

taking hold

which is a nice job

I think overall

you can see

it's just brightening up

the skyline

adding some nice glow

behind there

and brightening up

the buildings

which is definitely helping um

there we go

alright so let's

let's stick with that

for the moment

now I think

what we want to also do is add

hmm we could

we could add

a little bit

more coloring

on the horizon

we can add a little more gold hue

I'm not sure

if I'm sold on that idea

to be honest with you

you could you know

if you wanted to

if you continue

that roto of all

the building skyline

you could add some

glowing red

or not red but

more matching

like that orange

fire tone going

on in there

that might not be a bad idea

but for the moment

I think this is uh

this is working

pretty nicely

uh yeah I think

we're in a good spot

right there

now that the

thing that we need to be aware of now we are

we are I mean

we're dealing with

something pretty bright

something pretty hot

so we're gonna

probably want to

uh actually

blow this whole image out

significantly more

towards the beginning here

but what I wanna do

is right now

I'm looking this

I kind of wanna

spread that out

just a little more

so let's let's

let's take that out

actually to 200

um again this is

this is obviously

we don't have an

art director

that's telling us

do this or do that

this is what my vision is

but obviously

it is good to

you know don't always think that

you're locked in

once you made a value change

you're like

oh shoot now

I can't ever change it cause I I

I've made a decision

but sometimes

you know it's an

artistic choice

and you can uh

you can adjust things

as you decide

so in this case

I think that's

not too bad

so what I want to do is

I'm going to

add uh some

some overall

color correction now

uh so let's

add another

color correct

let's drop that

in actually

I'm gonna drop

that in below

so let's just

move these all up

uh here so we

just condense

these them up

there we go

and drop in

another color correct

that's good

and what we're going to do is

I want to overall

adjust the uh

the brightness

of this plate

so if we take

I'm I'm just again

just mess around

and see where it lies

when you uh

dial something in

but once in

basically this

is adjusting

based upon that

other color

correct so that's

that's kind of my goal

is to take that

to help kind of uh

blow some of those

colors out um

just just for kicks

let's see what happens when we uh

we blow that out

right there

that's not a

bad idea um

you could gamma up

if you wanna

adjust the black levels

and wash it out

it's not bad either

now keep in mind

as you're doing this

you might want to

adjust it in fact

now that I'm

looking at that

I think I might try

just for kicks

let's see let's try

adjusting this

below the merge

that we're adding

the fireball

so if we just

bring this up

now basically

since we've already

kind of done

some color corrects

on that fireball

to match it

this isn't a bad idea

because now

you're basically

adjusting everything

in the plate

and that's actually gonna help

a lot um so

okay so this

obviously that

that that helps

I think but

what we're gonna do is

I think we're gonna

wash it out

and we're gonna also

adjust the game

so it's gamma

and gain on this

at this point

we are dealing with

a solid alpha

so we don't need to

worry about

uh premulting

unpremulting

then premulting again

so we're okay with that

but let's just

uh let's take

this point and

bring that up

just a little bit

cause I think

we're gonna

just totally

blow this out

a little bit

cause that's

that's kind of

the goal obviously

is the fact

that this is

just like some

massive bright

uh explosion

that's happening uh

set quite a

few miles away

but it's still

it's still happening

so let's uh

let's set that

that's not too bad

so let's just

key these and

I'm gonna just

jump a little

further back

so the idea is

you know we

were videoing

you know you're

the tourist

you're videoing

and suddenly

you whip over like

oh my goodness

what was that

big flash so

at this point

we're uh going to

actually blow

out the image

even more so let's

just for kicks

um now let's

let's leave

that game alone

I'm gonna just

gamma up a bit more

I like the fact

that we're washing things

out a little

bit and then

jump between

just to kind of

see what what

it looks like

as it comes over

and then we're

going to back off

on things as

you whipped over

so let's say at frame 100 just for an easy reference

we set these back to ones and that

that might be a bit extreme

we actually probably don't want to uh

go to you know

you wanna still maybe leave a little bit

so let's just uh

go right about there

um

it's again arbitrary

but let's leave it right about there

I think that's not the bad spot and then

and at frame maybe 1:50 let's see where that lies

we can then bring it back down at about 200 let's say

where things are kind of evening out a little bit

now over here

we just needed to add one more frame

where it's uh

more along the line so we

we start looking right about there

when the camera moves

so let's say at frame nineteen

everything is normal

all game and game are both one

okay so at that point

I think we should take a quick break and

and we'll come back

and we'll continue working on things

just to do a quick recap

we have been working on animating

some additional 2D lighting on our background layer

background plate

to better integrate it into our mushroom cloud

we come back

we're gonna work on some edge integration

and some light wrap