All language subtitles for 16. Finishing final check and prep for render

in this lesson

we will continue going through our final check

and preparation for render

we just left off

having begun creating our hold out mat for the

using the using roto to hold out our mushroom cloud

at these last few frames

so I just wanted to run us through the finish

clean up of that and be

and ensure that you are at a good point

that would require you to only have very minimal steps

at this at the stage to begin rendering your final comp

so let's just do a quick view of that render

let's just let the computer think about it here

for a moment

there we go

so you can see we're basically holding out that mush

the stem of the mushroom cloud

and that's what we're expecting

so let's go back to our original plate

and we'll begin

or continue rather uh

animating that rotor shape

so let's just take those points up there

and continue lining things up

there we go

and I'm gonna extend this down just a little bit

more than sure nothing peeks out below

and 1 two more actually

let's go to that yeah

let's stick with that frame

here we are

and good and 7:38

kind of just generally arbitrarily lay it there

and just check to make sure that

it is holding it out properly so let it

let it ponder

let it think about it for a moment

okay you can see some stuff

that's poking out right there

so let's uh

let's just line up these two roto shapes

with that outer edge

we wanna make sure nothing uh

nothing is seen that shouldn't be seen

there we go

and the bottom

let's grab this and just drag it down

there we go

and let's go back a frame

7 frame 7:37

and there we go

you can see that things aren't quite lining up there

so we need to just take this point up to here

and at this point

what we'll do is we'll actually add another point

and if you turn on ripple effect

it will actually propagate any changes you make

to all keyframes

so what I'm gonna do is

I'm gonna custody smooth that new point we just created

while the ripples on

let's turn that ripple off

cause you don't wanna be keyframing

it suddenly is affecting everything

let's do that

that up a little bit

here we go now

we've held that out

that's good

let's go back one frame

and see where things line up there

okay so we need to do that again there that's fine

move that up a little bit

pull that over here we go

and let's go back one more frame

just to see where it's at

alright so we're okay there

now what I want to do also

now that I'm looking at this uh

I would like to ensure that uh

we have a nice clean edge so you

you can see how there's a hard edge on the uh

rotor shape

we just double checks frame 7:39

we should be good

there shouldn't be anything left over

in terms of the mushroom cloud

so we'll just take that rotate

wait for it to surrender out

and sometimes actually

just as an FYI

sometimes you have to close out that row shape

cause when you try to highlight

uh for some reason it gets caught and can't highlight

so let's just now take that

move it off screen

you can see actually we do still have information

so let's leave that on screen then frame 7:40

that was our final frame

there we go

okay so that's when he went off screen perfect

so now we're just ensuring there's nothing

nothing left over

but let's go back to frame 7:36

I just wanna show you uh

that we do need to do one last quick little uh

edge you can see right here if you look at it

you see how the Roto does not match the actual plate

because there's a little bit of a hard edge there

so what we'll do

you do one of two things

you can try turning on Motion Blur in the Roto

so let's go to Motion Blur

and actually

you have motion blur turn is set in there

but turn on motion blur for the row shape

you need to go back into the drop down here

and you can see

motion blurs turned off in that drop down

so you just hit that button and motion blur turns on

now I don't like the motion blur

you can see how it's actually ghosting up there

that's not gonna work

so let's just leave that off

what I'm going to do instead

is just go the old fashioned

add a blur and let's just blur it out to

let's say about

let's say about 7 pixels or so

and then when you start to look at that

you might need to tighten up the roto just a little bit

but it does help a little bit

it's just kind of blending things in

and this is all about your final check

you just go in

and sometimes you just have to frame by frame

check and say hey

you know what

I don't like that edge

let's fix that

let's hit this edge

so you can see

like for instance

if you're going in and cleaning up

you can see there's just a tiny

little bit of a white ghosted line right there

that's just a matter of

you need adjust your rotor shape

to make sure that now that you've added a blur

it's not cutting off

part of your nuclear mushroom cloud

where you're getting a Halo

so it's basically introducing

part of the background sky in there

so at this point

I think we are in a good place just to do a quick recap

uh of a few

items that you will probably want to still address

um let's just

let's just jump to a decent frame here

to take a look at over overall image

and just to do the recap

so I have two items

you could call it homework assignments

for you to take care of

if you're wanting to finish this shot

make it look really awesome

and prepare it for a demo reel piece

if you're wanting to throw it on your demo reel

or just as as an assignment

um I would recommend

go back into that building roto that we have

so if you zoom in here

you're gonna see

that we hadn't actually cleaned up all our roto

we use that tracking information

to rough in a roto shape

but you still are going to need to

tweak it a little bit

and you can see

there's that little Halo edge that's going on there

so I recommend

clean that up

because that's gonna make a huge difference

in how well integrated

the mushroom cloud is

in relation to your cityscape

so spend some time working on that

and just to

to remind you

that is this section right here

so you have that roto shape right there

that will turn on overlay

you can see the road shape

obviously doesn't line up

but let's just jump over to our keyframe

and you'll see

where that roto shape is

so that's the first step

that's what I recommend

spend a little time

clean it up

and get some keyframes

based upon that movement

uh using that tracking information

it just helps save you a little time

if you want

or you can get rid of all the tracking information

in hand roto it

there's many different ways to do it you can

you can use a 2D track

and introduce that onto the roto shape

if you like

um there's there's many ways to do it

but I do recommend cleaning up that roto so that

that edge that you saw

happening on all the other in

in various areas of the shot

uh doesn't occur

so like I said

that little white edge right there

just look for halos

that's the first step

the second step

don't forget

is you want to go in and finish

using that live

patch technique

and remove your monopod from the shot

let's just get you a frame here

and my computer wants to think about things

so let's let it

let it do its thing

but you're wanting

you're wanting to remove that monopod

that is in your background plate

just because

it does feel like it kind of throws things off

obviously maybe

if you're tourist

you did bring a monopod

who knows but

it just feels out of contrast with a shot

personally so

if I were you

I would spend the time

go in and live patch that or

or use a steel frame

patch whatever

painting techniques

you're comfortable with

personally I do recommend

if you aren't comfortable with live patching

spend a little time practicing that

sometimes you know

it's all about

how many bags of

how many tricks

you have in your bag

for compositor

and at the end of the day

if you're good at still frame patching

but you're not good at live patching

having that one more technique

added to the mix

definitely helps

at this point

I'd like to thank you so much for

going through this course with me

it's been a lot of fun

and I look forward to the next project

that we work together