All language subtitles for 03 - Course Introduction and Prepping Our Plate - De-noising and Adding Back the Real Grain

so in this clip

we gonna start off with prepping the plate

just so you know

I have flipped the image

this is how it was originally shot

with her looking to the right and not left as

as it was in the end video

and before we do anything

we gonna set up the project settings

so the source of our shot

it is shot at half HD so 720 p

and we gonna make sure our project

is set up correctly here

so we're gonna set it to half HD

so before I start doing any composting

there's a few tasks that I like to do

when I approach a new plate

so I always start with running a

d noise is usually number one

and then do my tracking

as we will do in the next clip

because these two tasks are kind of needed

in order to do any of the other stuff

we will be doing next

so I like to prepare and finish all of that first

so you can focus on the other stuff later

the important thing about d noise

is that we needed to do a better key

to pull a better key on this

and if you look at this footage

it's not really a green screen right

it's just a wall

you know at

at first I didn't shoot this with the intention

to actually key the background

but then I figured

like why not

so I ended up pulling a bit of a luminance key on this

and then doing a few tricks to easily get this hair in

because a lot of people know from experience that

keying hair is really difficult

and it's very difficult to get these fine details

but in many times

you can avoid that using some other simple tricks if

if the footage look good that is

it's important that we do a good d noise

or a decent d noise

just so we can isolate

the noise and the grain from the image

because when we do any manipulations on the image

we want to keep the grain intact

you know we want to be able to remove the grain

do our operations

and then add it back on in the end

to make it seem like we

did not touch it in the beginning you know

or you remove the grain completely

and in the end

you put like

a universal grain

that you put on all the shots and all the CG shots

to make them match

and this is usually a grain plate that was shot at set

you know they shot a small clip on

like a blank background

just to isolate the grain

okay so we won't really do anything complicated here

when it comes to the grain

you can see that this material is

is not really good

like this footage is not that good quality

anyway let's

let's start doing our d noise here

and I usually just use the simple d noise included

if you want a suggestion for a good denoys plugin

you should look into neat video

it's by far the best denoys plugin on the market

I like to just look in some of the channels

and the blue channel is usually the most crappy one

as you can see with the grain wise so

we just gonna make a basic one here

I mean this digital

so set it up to digital

but it's always good to experiment with

with these and see you know

it's funny sometimes even though you short digital

one of these settings

like using film as a source

might give you a better result

you know it's

it's all just testing

okay and many people that say

you gonna put this grain on top of your checkerboard

right what many people do is they like to use the

the furnace regrain right

because that's the most commonly used

basically this one

tries to read the grain on a frame of the footage

and then that's like a interpolation estimate

so if we look here

so you can see it add back the grain right

but it's not the real grain

you know that we see in the plate

you can see that it differs some

to get the absolute close match you can get

what you want to do is

you want to remove the grain from the image

and isolate it

and comping is all about simple image operations right

so in the merge

we have a few operations here and what I want I want to

let's say I have my image without my noise right

it means if I take my source image

remove the image without the noise

that should leave me only the noise

so you can do this easy with a simple minus operation

so a a minus B

and you get the grain

and a easy way to check this

that everything goes as it should

is you then can just do a plus

back on your denoist

and that should give you the original image you know

because I you just isolating and removing

and you can even see this

you know I sample this and compare the values here

there's no difference

if I were to do like operation here

let's put like

multiply you know

you could see that down here

yeah we actually affect it's not

it's not the same

the original plate is not the same

after we add back to grain

but without

it's identical you know

so what you would do

if your surface is flat in the background here

like it is here

or somewhat flat

it's like a

has a few pattern

but we will get away from it

get away with that

it's just a wall

but let's say you have a blue screen or a green screen

it would be perfectly fine to use the original noise

when you add it back on the background

as long as it's even

because you see

if you had a painting here or something

you can see you get a pattern in the noise

from the shape you know

so whatever you add back here in the background

then if it's a pattern here

you will get it on top of your background

so it won't work

then you will have to

recreate the grain in some other way

you know but for

for this course we can

we gonna add it back and keep it simple

this is totally

totally fine in this case

so what we would do to add grain to our checkerboard

we would just

we isolated our grain right

hook it up to the checkerboard

just gain a bit you know

and here you have it

now we added our our grain

so this is just to show you how to isolate

the grain and we will further use this grain

we will perform a retouch operations

on the image that does not have the grain

you know the noise

we always want to do our operations without the noise

and then when we finish our operations

we gonna add back the noise

and that way we keep the

the original noise of the image or the

the video or film that it was shot on

so now that we finished doing our simple d

noise in this clip

in the next clip

we're gonna continue doing tracking for her face

I'll see you in the next clip