All language subtitles for 14. Painting out the BG plate

in this lesson

we will work on removing our monopod

from the final end of the background plate

and by doing a very simple technique

so if if you've worked in paint before

you might be familiar with techniques called

live patching or live plating

these basically are taking areas of pre existing plate

and just shifting them over

and allowing the same movement of the plate to match

and utilizing the pre existing texture

basically the point of this is

you aren't having to do any kind of 3D tracking

you aren't having to do any kind of match move

in terms of creating a still frame

clean plate

and then animating it to try to line it up

in this case

you could do that

it's definitely not a bad thing to do

this is just another technique

to add into your arsenal of compositing tricks

so what we're going to do is

we're going to do this

this paintwork right here

after our background plate

and after the shuffle node

but before we have actually composited

in the nuclear mushroom cloud

so I'm going to create a couple nodes here

I'm gonna create a merge node

so in the no graph

U hit that m key

just gonna drop that in right here

and then at

for the moment

I'm going to turn it off

and then I'm going to create another merge node

but I'm going to set this one to

in connect the a input

to the shuffle node

and then I'm going to create a roto shape

connect that B input to the roto shape

after the merge node

I'm going to add a transform

so hit that t key

there's your transform

and then you're just gonna connect that back in

to the original chain

so a over B

now what this is going to do

so I'm creating a merge node

that's set in

I'm using the roto shape

I'm going to draw a roto shape and I've

I've studied this

so I'm looking at it and saying hey

you know what

if I'm able to live patch

from the section directly above uh

the the pre

the currently existing uh plate

I think we should be able to pull enough information

to begin hatching this section below

so let me show you

what we're going to do

we take the rotor

we take that row shape

we just draw some points on it

and draw it back down to here

4 point Roto should probably do the trick

we might need to get a little more detailed

that's fine

we can worry about that in a moment

there we go

so we have we have that four point roto

now what I'm going to do

is turn back on that merge over

I'm gonna view there

and at the moment

obviously you're not seeing anything change

but if we take

the transform node

and we just shift it over

you can see

now we're moving that section over

and you just wanna line it up to match the area that

is of interest

and now you can see

there's maybe some issues

that we might be introducing

you can see where things aren't lining up

because it's stretching a little bit more

there's perspective shift

all that is

simply that

you would take multiple sections

so maybe you're going to instead

create the roto shape

and you're gonna do

you're gonna do multiple sections

of these patches

and you're gonna take a roto shape

and you're going to

instead do the first section

up to that edge

maybe something like that

so then you line it up based upon

that upper edge

then you're going to do another section

below right here

and you would do

the middle section

so let's just assume

now you're doing the middle section

so I'm just gonna move that row of forks

for an easy example

and you're gonna shift it down

now you're gonna line it up based upon

that lower point

so now you just shift that down

just a little bit

and now you have the SEC

the middle section uh

clean plated

uh and then

you're going to

do another section

for the bottom

which would be down here

and you can see

you just line it up

based upon the line

the perspective shift

in the actual lines

now for the sake of this example

cause I'm not going to

do the entire paint work

I'm I'm wanting you to take the initiative and uh

run with it

but for this example

I am going to

just take the overall shape

and we're going to

rough it in

so that you can see what I'm talking about

in terms of using a live patch

so we have this

sun frame 7:35

what I want to do is

I want to take that transform node

and we are going to key

set keys on the X and y

translate now

what we'll do is

we're going to go back one frame

so let's jump back to

frame seven

thirty four

now you can see

it kind of moves

obviously so

it's not gonna line up

but if you take that transform

and shift it down

and you're wanting to apologies

we're actually lining it up

up to here now

what you're doing is

you're doing two things

you're going to

adjust the transform

but you're also gonna adjust your roto

so you're gonna take that roto shape

and you're gonna shift it down

and line it up

to what you're needing to

clean plate

there we go

and and just for kicks

I'm going to delete

this current

existing key

there we go

and now you can start to see

if I turn off

obviously it's not lining up

perfectly again

like I said

you're going to need to pull

from multiple chunks

but if you jump

between these two frames

you start to see

oh wow look

we have a live patch

now obviously

you're getting hard edges

you have have to do

edge blending

and all that you can

a simple way to do some

edge blending

is just by adding a blur

after your roto shape

that sometimes

will accomplish

exactly what you need

maybe just simply like that

add a little more

uh fall off

there we go

you might have to do a little

bit of color correction as well

so you drop a color

correct node

after that transform

uh because it might be

getting a little darker

just very subtly

so maybe we just

let's just for kicks

let's add a

color correct

and let's drop

the gain to like

point nine nine

point nine eight

point nine seven

there we go

so now you can see

it starts to blend in

maybe a little bit more

possibly and

that is literally

how you can do a live patch now

obviously again

I'm just showing you the

the bear essentials

but you can see the

the result is

you're starting to

get a live patch

that is tracking

the movement

of your original plate

just based upon

the fact that

your original plate is

is transforming in there

so that the

good news is

with that you're

you're saving yourself

potentially some time

and all you're

having to do

is just animate that roto

and then line it up

based upon the

transform node again

the roto shape

is going to be

if you actually

let's just uh

let's turn off

that transform

for a moment

and bring back

that roto shape

there you go

now you can

see where it is

originating from

you're you're going to

basically need to

animate that roto

to cover the area

that you're pulling

the patch from

so you can see that

the roto shape

needs to match

the movement of that

so you're gonna have to

animate that roto shape

and then the secondary

is your transform

you're just gonna shift that

patch over top

the monopod

and obviously

as you can see

it's not gonna cover everything

so you might need to do

a secondary patch

what I would recommend is

you get this one

blend this patch blended in

at least on

the top side

that way then

you can take

another roto shape

and do the exact

same technique

by live patching

using the preexisting plate

and your new live patch

that you've done

on the first half of

the monopots

then you have

a greater surface area

to work from

when you go to

clean plate

or live patch

in this case

the other bottom half of

the monopod

and that's basically the

the simple technique

that you use to

to do these

live patches

you can utilize this

in many other areas of

compositing as well

but this is

this is basically

the gist of it

there's there's

a few other

techniques to

go with this

and obviously uh

many artists have

other ways of

doing things

and that's fine

again like we said before

there's more

than one way

to skin a cat

so if you don't like

this technique

you can go in

and just do a

actual tract in

still frame patch

you can make a nice

clean frame

and you can

animate that

maybe you feel more

comfortable with that

it really just

depends on what

the requirement is

what you need to do

and then you just

have at it so

for the moment

I'm going to turn

off that merge node

just because

this is not

obviously a

finished paint job

but we are getting there

and I think

you have a very

solid foundation

to work from

in terms of

clean plating

and using a

life patch technique

to remove that monopod

now I think

just to do a

quick recap

on this lesson

we've basically discussed

working with

live patching

techniques on a

very basic level

on how to create

a very simple

way of using

pre existing

mote movement

and the motion

of the plate

and shifting it over

to line it up

to use utilize

the texture

that's preexisting

and just cover up a

an unneeded object

at that point

you are ready to go

and once you

finished that

then you have

very few steps

required to

actually render out

this nice shot

of a citywide

nuclear explosion

so I think at this point

we'll take a

quick break

we'll come back

and we'll begin

our final check

and see if we've

forgotten anything

if we've missed

anything and

at that point

we'll be very

close to render