All language subtitles for objectRemoval

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hi this is Derek Ubiling

and in this course

I'm going to show you how you can

get rid of some unwanted objects in your footage

okay let's have a look

this is clearly a moving shot

the train is coming in

and we've got some things that we wanna get rid of

for one we've got this little grey control box

right here and um

we've also got this area right over here

which is not so nice

we've got the reflection of the control box

in one of the train wagons

and we wanna get rid of one of the train wagons itself

so let's have a look

as you can see

I've patched up this area over here with a window

then I've gotten rid of the control box

I've reduced the reflection

and I've gotten rid of the last wagon

okay I think we should have a go

let's get started

okay let's load in our footage

and here's our train

open that hit one to display in the viewer

I'm also going to adjust the frame range 50 to 2:50

that's mostly what I'll be dealing with in this course

okay so let's get started

what about removing this controller box first

what do we need

yes we need to paint it out

so let's grab our Roto sorry

our Roto paint tool

and as you can see

as we open it

we've got a bunch of tools right here

and we've also got this little clone tool

so if you hit control

and then drag to where you want to go

so control is your sampling area

and this little cross right here

is where you're actually drawing

so now if I just hit my mouse button left one

you can see that I'm sampling the area

right next to the box

I'm just painting over

so if you want to sample another area

grab control again

hold the button readjust

and there you go

it takes a little while and I'm not going to do this

too perfect

hang on too perfectly here just to get the idea

there we go

grab some more from here I think let's see

always get a bit mixed up with which ones which

but actually it's not that difficult is it

we really wanna stay in line here um

and we don't really want to

I just copied this and we don't really want that

so let's take another spot and redo that again

then I'm going to sample this spot down here

just to get the tracks back in there

I think I'll call this good

I know it's not but I'll think it it'll do the job

let's see what happens if I um play through the footage

I'll just step it through it

frame by frame using the arrow keys

and right in the next frame

we've got our box again

so what do we need to do

yes we need to hold our brushstrokes

and we can do that by adjusting the lifetime

but we need to select all our strokes first

so let's select the first one

scroll down and then hit shift to Mark them all

and single frame to frame range

and then frame range zero to our last frame

that would be 3 4 3

there we go

so if I step through now

you can see that the strokes are staying

but we've got another problem

that is the strokes aren't sticking to our footage

so what do we do

so let's just copy our footage first

just control our command copy paste and um

in our tab we will say hold Frame 60

because that's the frame we painted out

and then in the frame expression area

we're going to type in minus 60

because that's where we'll start at

so now we have shifted back our footage by

minus 60 frames

that means frame 60 is now frame 1

and we're holding that frame

so if we now swap the input of our paint tool

and play our footage

we can see nothing is moving

we've got a nice patch here

everything is fine

I'm going to add a constant

place that button right here

and then need to merge

and I'm going to merge the two on top of each other

just going to give this a bit more space

and I'm going to add a roto paint node again right here

and I'm going to

draw out this area that we've just patched

just very roughly

I'm going to deselect all the colours

because we just need the alpha

I need to premult as well

and you can see we have a lovely patch right here

and if we add another merge

and we are sorry wrong node there we go

swap these around shift X and connect to the viewer

now if we go back to frame 60

you can see

that our patch is perfectly aligned right here

but if we play the footage

we've still got the same problem

our patch isn't moving with the movement of the camera

so how are we going to resolve that

let's see if a little bit of 3D data can help us out

let's import our 3D data

let's organize ourselves a little bit more

let's maybe just move this up here

and let's have a look what we got

we've got our track around here

I tracked this beforehand

you can do this in an external application

or you can also do it within nuke

um but for the time being I'm just going to deal with

the data that we already have

we've got our point cloud right here

um a scene and our camera

now let's also add a scan line renderer

to our scene

up and we will connect this

right here cam to the camera

then the object to the scene

and we also need a constant

so that we know our background size

now let's connect this to the viewer

and what we can see are little crazy dots

so what's that

these are actually our tracking points

and resemble a position in 3D space

if we switch to the viewer 3D

zoom out a bit

give it a little spin

we can see right here

that we have distances relative to the camera position

now if I hit play

you can see that we've got camera movement

merging our scan line renderer

right over our original footage

gives us our tracking points

right on top of our original footage

and if we zoom in a little bit and play

we can see that they're actually

stuck directly on the footage

so they're moving with the footage

and if I hit the the tracker

we can actually see these little crosses

and they give us position values

of where they are located

since we're still

trying to get rid of our little box here

let's try to take this position

to create a 3D plane and project our patch over the box

so hit the right button mouse button

create and card

if we swap into 3D view we can see

that our card is right in the middle of the scene

right in the position where our little gray box is

right where we chose our tracker now

let's add a Project 3D node

connect our image our card right to that node

let's take the two move down

connect them to the scene

now we will take this

input and connect that to our patch

let me quickly organize this a bit

there we go

now the only thing we still need to connect to

our Project 3D note is a camera

so let's just use the one we have

I'll just copy this one

and we will connect this one as well

now if we go back to frame 60

you can see let me quickly reconnect our point cloud

we can see that our area is pretty mad much patched up

but if we hit play we still have the same old problem

our patch is still moving

because our camera that's projecting onto our card

our patch onto our card is moving

that's supposed to be just a static camera

so let's get rid of the animation here

choose no animation

and the same with this one no animation

now if we hit play

you can see the patch is pretty much stuck

where we want it to be

at the same time

you can see that we've already

run into more difficulties

we've patched up the ground

but now we've also patched over the wheels of our train

just quickly to recap what we've done so far

we've got a static frame

and we painted out our gray box

then we connected our patch to a projector

and projected our patch onto a plane in 3D space

now our 3D camera

that's already got the movement of the shot

films that patch

and if we merge that on

top of our original footage here

we've patched over the area

and we've introduced exactly the same motion

that the camera has into the shot

removing the gray control box

was pretty much straightforward

all we had to do was paint it out on a static frame

now this method is not going to work so well

on the moving wheels

so we need different approach

stabilizing the footage first

might be a better approach this time

so let's try that out

let's first of all

grab our 3D setup that we already have

going to take our tracker or seen our camera

and we're going to copy that

I'm just going to move right down here

and I'm just going to paste that into my flow

now same as before we're going to add another card

and we also need the projection node

so there we go

we connect the two

connect that to our scene

and now again we need a camera

and we're just going to take the camera that we have

right here I'm going to deconnect it from the render

going to connect it to my projection node right there

now I need some material to be projected

so I'll grab our original footage oops

there we go right here

didn't work this time no it did let's just organize it

supposed to go right in here

there just tidy things up

now let's have a look at what we achieved so far

let's just switch to the 3D view

we've got our camera

we've got our card and as you can see we've got

the projection of original footage onto the card

now let me also connect our point cloud again

and we know that our little points here

resemble trackers connected to

for example

the buildings

now if we play the footage

I mean it's really difficult to see

but you can see we have some camera movement

but our little dots

our point cloud isn't moving at all

now why is that

in our original scene

the only thing that was moving was the camera

we can be pretty sure that

the buildings didn't move at all

so that's why our little tracking dots that are

attached to the buildings don't move at all

it just stay put in their 3D position

okay I will just disconnect the point cloud again

and zoom further in

and now oops sorry

and now if I step through the footage frame by frame

you can see

that now that

the image is just being projected onto our plane

the buildings don't move at all

it's more or less just the frame

of the image moving on our plane

but the buildings are pretty much stuck

I know it's a bit jumpy and it flickers a little bit

but that's more of a display issue

so we noticed that the buildings are stuck on our card

now does that mean if we can just take another camera

and film off that card

that our footage will already be stabilized

well let's just try that out

let's grab the camera that we already have

copy that paste

and connect that to our scan line

render and swap to the 3D view

and zoom out a little bit

of course I will also have to get rid of my animation

so just for the sake of it

let's stay with frame sixty

it's just easy to remember

now that we've started with frame 60

go into our camera and again select no animation

we don't want this camera to move

since we want a stable shot

now if I hit play

we can see that our shot is already pretty stable

and you can see that the frames moving

but the buildings are not

so that's exactly what we are looking for

if we have a closer look though

um we can see that we're not perfectly stable

let's replay this

now it's cashing um

well it's really difficult to see

but there's still a slight shift in the buildings

that's because of perspective changes

to get rid of these shifts

we could project our scene not onto a card

but onto some simple geometry

first of all

let's disconnect our card from the scene

and so that we will still be able to see something

let's disconnect the background

and connect that to our original footage

then we will

double click on our tracker

and we will select one of these points in order

to place our first 3D geometry

so what we want is a cube

okay this will

probably have just dropped it anywhere into our script

let's pull this down here

and let's also create a scene

and we'll connect our scene

to our other scene

and to our cube and

we also want the cube to be connected to our projection

now let's also scale down the cube

so that we can see what we're doing

there now you can see our cube

now you can already see

that these two images don't line up anymore

that is because the cube is now being textured with our

um projection

you can see that here in 3D space

also we want the um little cross here

the coordinates to match the spot right on the corner

our tracker was right on the corner of the building

so we want that to be the case with the cube as well

so let's change our values here to zero

and same with this

and you can see we've now moved our little cross

right to the edge of the cube

back in the 2D view

maybe we should just disconnect the projection

so we can so we won't be irritated by what's happening

we can now just

move our cube around till it kind of meets

the dimensions

I'll grab it right here as well

drag this down

and across a little bit more

oh I think that was the wrong one let's try that again

just into the depth a bit more and to Z

there we are and down

and let's check that our values are still

zero right here and zero right here

so it's still sitting on the corner

now let's have another look in 3D space how we're doing

and let's connect our projection again

and it looks like we're pretty spot on with the

corner of the building

we might be just a tad too long right here

sorry let me try that one more time

there something like this and um

also we could increase the heights probably

and let me yeah that's that's about it

I think that's fine

let's go back

and let's disconnect this one more time

and we'll take this cube and copy it

connect that to our scene as well

and this is this cube will just use the same one

for our other building that's right behind it

so let's switch back to the 3D view

move that back 2D view let's see where we're at

just a bit further I guess

let's also connect our card back

and maybe go back to frame 60

there let's try again to line it

just a bit further back I guess there

that should do the job just a bit more as it seems

and it in the height

and I think this building also looks like it

set back slightly

so I'll move that back

after just this little more

there I think that should do the job

let's just copy one more cube

maybe the first one that we did again

paste that connect to the scene

and um this is going to be

our front building right here sorry

just trying to align this

with our building right over here

there we are

let's have another look in our 3D view

maybe we should connect the others as well

just to have a look

and as you can see we're setting up our like a little

like a couple of miniatures that resemble our scene

so now let's also

add buildings on the other side

so I'll just grab the first cube again

there connect that to our scene again other way around

move that way over to the other side right here down

and we have to increase the size a little bit

now I'm just doing this very roughly

um I just want to show you the concept of this

um of course you know

for these kind of edges and for the chimney and so on

we would usually

you know build proper geometry maybe in a 3D program

the more perfect you can get the geometry

the more stable your result is going to be

that's for sure

um let's connect

the other ones to the projection as well

what we're really missing is also a um ground plane

so let's hit the trackers again

and let's choose one of the tracker positions that

that's close to the ground

I mean probably this one doesn't look too bad

so let's create a card

and where did Arnold go right there

and let's connect that to our scene as well

and let's connect that to our projection as well

and let's have a look where that is in 3D space

now it's right here and we need to scale that up

so it's really so it really covers the whole ground

so I'm just going to make this massive

and in fact I might also just move it back a little

it's really important that it's not

being cut off anywhere

so maybe I do have to increase the size even more

I mean that that might do the job

now I've really turned this into a

proper mess down here

so let me just quickly um

deconnect everything and clean that up

so we won't lose track of what we're actually doing

so let me pull out a little helper here

and connect this

just I just want to straighten things out a bit

just quickly

it's easy to lose the overview

and I should have done it in the first place

but then again

I was just a bit lazy

there I think that's better

now one last thing

if we look into our 3D scene

we can see that the first card that we've

put into our scene

is really kind of blocking everything up

so let's move this card and put that way at the back

because that's kind of our horizon plate so to say

everything that's not being covered by our geometry

it's going to be caught by that plane

again we want to have that really far in the back

and we need to increase the size so that

really everything stays in frame

okay at this point

I'm also going to connect my

constant back to the renderer

and I will write this out

because my machine is already suffering a bit

with the screen capture a software running

and I will stop the screen capture for a second

and I'll be right back

okay as you can see

I have reimported our rendered frames

if I play the footage

the result is a pretty stable shot

now we've got those black edges moving in

but that doesn't really bother us too much

because we just want to get rid of

the box and what the box are covering

so basically the wheels is what is

what is of our interest at the moment

by the way you can skip this step

and this was just for me and you'll probably be fine

just continuing right after the scan line render

and just to recap

how did we get to this result

well let's have a look

we projected our original footage

with our moving camera right onto some 3D geometry

and we filmed that projection with our stable camera

and that stabilized our footage

we still haven't recovered the wheels of the train yet

so that's what we'll do now

okay let's first of all create a rotate shape

again to define

the area of where we want to recover the wheels

connect that to our background or the scanline render

now we want to merge this over

let's create a merge

we want to merge this on top

of our patch that we've already done

so let's connect that

okay let's go into the roto

and I would deactivate the Alto key function

and then just draw my spline right around the area

where we need to recover the wheels

I might just want to adjust this a

bit further back there

now we also need a premote

and I'm going to drop this right in here

and let's have a look what we've got

oh yeah we want to deactivate our color channels here

we just need the alpha

so here we've got our patch

and this is the part that we've rotated out just now

right the area of the wheels that be

that's being covered by the box

okay let's also

add a transform

and we're going to do that behind Naruto

and we also need a shuffle

and I'll set the alpha to be black

and then I'm just going to grab my my transform

readjust the center position a little bit

and then I'm going to connect my viewer

to our final outcome

now as you can see

we still have the box that's covering our wheels

so let's go to our transform that we've just added

and just move it

it'll take a while to update

but you can see we're getting rid of that box

there now that still doesn't seem to be quite right

um the wheels don't really match up

so what we need to do is we need to offset the time

so let's add a time offset here oops

there we go connect that to our transform

and let's just scrub through the frames here

now we can't really see what we're doing

we're moving the the wheels of the train

that's for sure

but we're not really sure in which direction

we're heading

so let's put the offset back to zero for the moment

go back to our transform

and just put our translation back to zero

now let's go to some frames

and that's that's going to be a bit easier

where the train is just

about to disappear behind our box

and now let's grab the transform once more

and just move that away and now we'll grab our offset

and there we can see that we want these two to match up

now at the moment they don't match up properly

so let's adjust our transform

there that doesn't look too bad

and let's step through it frame by frame again

and we can see where the patch ends right here

that doesn't line up as well

now this doesn't line up properly either

but in the middle it's quite good

so we need to do some tweaking

and will add a grid warp

there we go

and it'll be right down here in the corner

you can see the grip war

let's reset the image size

and we'll remove this line right here

because we want to set our own

and we'll add one right here

and we'll add another line right here

add one right around here

and another one right around here

and I always do some safety borders

so we won't have the stretch all over the image

there that looks pretty good

now I'll hide and lock the source grid

and so that I can adjust the destination grid

before I do that

it might be a

little bit easier to activate the red channel so

that we have a better view of what's happening okay so

let me also give us a little bit more room

let's step back a couple of frames

just to where it starts there

so I'll move the top corner over

just want to realign it

there and then I'll step through

to where the trains almost passed

and try to realign that corner

I think that's a pretty good match

I'm not going to tweak it anymore

now you can do that if you want to

but it'll take some time to get it right

okay let's continue

I'll just get rid of the red channel again

and we can see our result isn't too bad

what we could also do to improve it is just

feather our shape a little bit

then it won't stand out quite like that

and of course

the movement on the train is also on our side

our eyes won't be able to pick on the fast movement

so these little glitches will be harder to see

still I've just decided I can't leave it

in this terrible state

I think I've must have offset the time too much

and it's already copying in the shadow right here

this doesn't look too great

let me quickly see if I can just tweak this a little

let's go back to the time off set

and maybe just do six frames

and and then we also have to correct the position

so just let's just move our transform

something like that then let's correct our shape here

roto shape and maybe also feather it a little bit more

okay if I step back now

and step forward

I think this already looks a lot better um

we've also got this area now where our patches

are right here and we want to get rid of that as well

so let's just quickly animate the opacity right here

in the Commons tab and set capacity

let's take another look

I think probably right here

let's add a key frame

set key and then step back a frame or two

and let's just set the key and put that to zero

now what have we got

there's our patch

I mean you know

we would have to tweak that make it a big bit nicer

and we certainly could also go ahead and

you know change our shape that we did here

feather that a little bit

there that's probably better

and then we could yeah

of course tweak that and move it so it

you know matches up

and maybe we would also move it so it's just on top of

the track or just a little bit to the side

so there's plenty of things we could do

but I just didn't want to leave it um

like we just had it

that looked awful

I mean now you get the idea

this is more of how it's supposed to look

but we really had that really strong shadow

so I'm happy that we got rid of that

now again how did we recover the wheels

we rotate out the part

where the wheels were still covered by the box

then we moved the area with clean wheels into its place

and match the time accordingly

we also did some tweaking with our grid warp

and that's how we recovered the wheels

let's move on and see if we can get rid of one of the

train wagons okay

before we get into rotoing away one of the train wagons

let me quickly show you a nice way to roto

anything static using our stable footage

so let's create a roto paint mode

there we are

connect that to our stabilized footage

and will merge that

on top of up

right here

and connect that to our shape

quickly give us a little bit more space there

let's organize ourselves

and right out here didn't grab that there

now let's say

we wanted to do something with this little thing here

so let's get the shape right

I'll turn off auto key as well

and let's draw a roto shape right around this post

I'll also quickly just deactivate the channels

because we'll just use the alpha channel

then I'll need to shuffle

and I want to shuffle the alpha

into a new channel that I'm going to create now

and let's just call this roto and roto

there I'll just block all these

now if we go to the merge that we've just created

we also merge the channel that we've just created

there it is roto

sorry I'm in the wrong merge here

this was the merge I was looking for

and here we have our roto

and we'll also do that to our final merge

that comes right here through our projection

and we'll add our roto here as well

now if I add a color correction

and I adjust our mask to be a roto

and I just then change our let's say gain

ah I can't see it

because it's probably in a different position

maybe I should just gamma this way up

so that I can see it

there it is

so let me just correct the position here

sorry wrong one

there we go

the staff said that we get through the projection

now it's in the right position

and okay let me tone this color correction down a bit

there we can still see it

and if I hit play

you can see that our roto is stuck on there

without anything but just have drawn a single shape

now this is quite impressive

and you can use that for color correction

you can use that to cover up and paint things out

I just wanted to show that quickly on the side

so this is a really nice way to do roto using

the 3D environment

okay we can get rid of the color correction now

and I'm also going to change these merges back to none

because we don't need that channel anymore there

now to get rid of the train wagon

let's find a good spot first

um well let's see let's get rid of this last one

so let's go to a frame where

it's fully in picture

so we can get a nice shot at it in the roto

and the first thing that we will do is of course

create another roto node

now we'll just connect that to our stabilized footage

and this time I'm going to leave out to key enabled

and we're just going to start um drawing away here

I'm not going to do a really

really nice roto just a really quick and dirty one

so you get what it's all about

this was important that we get this nice and clean here

because we wanna get rid of the last wagon

just this transition here

has to be a really good road of other

the other parts here can be really rough

okay there

okay let's move back to

somewhere around here

let's move our roto

and make that fit

just adjust the shape a little bit that looks alright

there we are

now we would have to go to somewhere in between these

and align our shapes again

and that's how we would in the end get a

fairly decent roto

now I'm going to cut corners here

because I've already done a little roto

so I'm just going to copy that in

and I'm going to use that instead

okay so here we are here's a roto

it's not it's not a perfect road to either

but I thought

you know I'd spare you the

time of me going through every single frame and

doing a nice job

well let's also add a primot

here we are

and we want to merge that over

over our patch right here

so I think I'll just

leave that merchant to connect this one

and grab this one and connect my new rotor to that

I can get rid of the one that I just did

to show you about the color correction there

let me quickly sort this out

there we are

if we now connect our viewer to this merge here

you can see that we've added the train wagon

to our patch

now we don't really want the train wagon there

but just the clean tracks

so how do we get that

let us go back down to our stabilized footage

and let's add a retime node

there we are

a dent in here

now if we have a look at the footage

our stabilized footage

we've got a certain point where the whole train

leaves our shot

which is probably more or less the last

last frame of that shot

so let's set our re time to our last frame here

343

and that will hold this last frame for the entire shot

so if I connect my viewer to the re time

and I just hit play anywhere

you can see nothing is moving

it's just the last frame

moving up again

now to connect to the the viewer to the merge

we can see that we've actually

added an empty space where the train wagon was

now let's connect that to our final output

and you can see we've got this patch right here

where our train wagon used to be

but we haven't completely gotten rid of that

well now why is that

if I look at my 3D card here

it's just probably too small

swapping over

you can see that somewhere

there's a projection right here

and it's probably just being cut off by the plane

so let's return to our shot here

if I just go and then

you know change the scale

I can probably get rid of that problem

there we are

so if we hit play now

we can say Hooray

we've gotten rid of the dragon here

but oh no our gray box is back

so what do we do

that's just because we merge this over

and we need to merge that under

so if you hit shift and X

you can just swap in and outputs

and that will solve the problem

now notice that also

we've got the pair of train wheels here

because of course

the train was longer when we first animated this

so you would need to correct this part

I'm just going to leave it as is for now

and of course

looking at the edge

this would need to be feathered and you know

dealt with a bit properly

but you can see

we've fairly simply gotten rid of one of the wagons

and that would have

taken quite a long time to rotate around

if we wouldn't have done that on the stabilized chant

so how did this cart vanish again

we started by simply rotating out our shape here

we then connected that to the stabilized footage

which we changed with a retime

to just the last frame that we held

for the entire length of the clip then

we merged that on top of the patch that we already had

and that was projected onto a card

in 3D space

and then refilm by our moving camera

rendered out

and the result is our vanished wagon

um or better to say

our tracks patch

that already has the correct movement with it

so far we've gotten rid of the little control box

and we also recovered the

wheels of the train that had been covered by the box

now we also erased one of the train wagons

so what's missing

yep there's still the reflection of that old box in

our train wagons

so in the next step

I'm going to show you how to get rid of that as well

to paint out the reflection of that gray control box

in the in the train wagons

that would be a lot of work

so in this course

I'm going to show you how we might get around it

my approach would be to just solve it

with a little color correction

so how do we go about

let's just first add a roto shape to our merge here

and again I want to get rid of the outer key here

disable that

now if I would start drawing my rotor shape

right in here

I mean would I again

have to go through all the steps of row doing so that

my roto shape or my color correction stays in place

well we've just talked about a method

where we would have to just

draw our roto shape on one frame

doing that again would be a bit boring

so I'm going to show you another way how to go about

do you remember our little

point cloud and crack camera trackers that we have here

if we take a look

yes we had this one point that was

more or less in this location

so let's right click on that tracking point again

go to create and create an axis

here we have our axis

if you take a look in our 3D environment

the axis is this little cross right here

and as you can see

it's already sitting on the patch

that we've used beforehand

now switching back into the 2D view

we still need the method

to access the coordinates of this axis

luckily there's the reconcile 3D

node and we're going to use that

as you can see

it's already connected to our axis now

we're also going to connect it to our original footage

and to our camera

so the reconcile 3D node will actually convert

the 3D position of our axis into a 2D position

so let's choose a frame where the train

where the reflection isn't in the train yet

right about here

let's say frame 80

and then where the train is already passed

maybe at 2:25

so in the reconcile 3 d node at on the button

Create Frames will choose K d to 2:25

if we hit okay

we can see that the reconcile node is doing its magic

and it's calculating the 2D position

now back in our Roto paint in our transform tab

we will drag the input of our Reconcile 3D node

to this translate position here

so this is the animated 2D path that you can also

see right here

and we'll just shift

drag that right into our translate

oh okay this is not working

hang on let's scroll up

okay we need to select our route

so let's try that one more time

grab these values holding shift

and drag them onto our curve here and there

now let's skip

to a frame where we can see our reflection again

maybe a little bit more there

that's a pretty good one and let's draw our roto shape

just do this really rough there we go

I'll also

deactivate our channels

and now if I step through the footage

you can see that our rotor shape is pretty much stuck

with the position of our reflection

I would say that's a pretty good start here already

now let's add a cure

and connect that to our merge

now I will also go to the alpha view

ah now we can see that we also have our other

alpha shapes right in there

so um let's quickly remove those with a shuffle

and just check on Alpha zero

now connect the viewer to the Kia of course and let's

raise the contrast a little bit

so we want to get the splotch right here

maybe something like this and

and now we want to connect these two

with a channel merge

and we need to set this 2 in

now this is giving me a pretty good mask already um

I would want to feather our shape a little bit though

so we have a nice drop off there

and let's have a look with all the channels again

and we'll add a few correct

and let's choose all our channels

the blue green and red

and let's just

tweak these values here maybe lower them a bit

now I'm lowering the values for everything

choose the mask alpha of course where is it

there we are

and now if we make this passive

we can see that that's already made a huge difference

maybe we can even pull that down a bit further

now that's creating a little bit of a border

but I won't be too bothered with that

I'll just quickly add a blur

I don't know maybe three

and of course I just want that blur on the Alpha

and let's just check how that looks

and I mean I must say we've toned it down quite a bit

so this is already looking quite good

I just wanted to show you that

you always have the option to look

if you can find a cheap and cheerful solution first

before you go through the

effort of maybe painting out every frame

so let's take a look at how we

achieve to reduce the amount of reflection quite a bit

first of all

we created an axis close to the position we needed

and then we connected our Reconcile 3D node to find out

where this 3D position is in 2D

we then connected our 2D animation or 2D data to our

roto shape so that it would stay in place right here

um over the reflection

and then we took our cure to create the mat

just out of the brightness values

the luminance values

and we connected our two shapes or our two mats

and added a color correction using that as a mask

stepping through the frames

you can see that we've reduced

the reflection quite a bit

I think you know

it could also be something else

being reflected on the ground

we don't really know

but it's not really obvious

so if we zoom out

it doesn't catch her eyes right away

so I think this is really less obvious

up to now we spend a lot of time removing things

the last thing that I want to

cover with you is actually adding something

and we will be adding a window to this area right here

now the 3D environment can be

really helpful if we want to add additional elements

so let's try that out

let's go ahead and add a seat

and we'll connect that to

the scene that we already have

okay let's also create a card

connect the scene to it and we want to import an image

and we'll grab the frame right here

open that and connect that to our card

now you can see right away that we've got this

massive frame in our view

in our 3D space

yes we've got our 3D card

but how do we know

how far that has to be from the camera

so let's remove these elements again

and then switch to the 2D view

and let us get back to our original trackers

and we'll choose a tracker that's

right on the corner here of that building

so that's where we at 1 have the corner of the frame

so let's go create card XY

and here's our card

and we'll connect that to our scene

and if we swap into our 3D view

we can see it's now probably the position that we want

because it's connected to our 3D position tracker point

now let's one more time add our window frame

and you can see we still get this massive window

in fact this one is even bigger

so what do we do

yes we have to scale that down quite a bit actually

not that much

maybe around here

and then we'll just move it

because we know that the Z position is correct

so we just move X and y to hit that corner right here

there we've almost got it

and sometimes your images won't line up

so there is a good function within

our cards that we can use

and it's actually the deform right here

and if you click by cubic

and then create a new shape

let's say with two um points

hit new shape yes

and you can see we've now got these additional points

and we can just move them around

and that will distort our image

so we can make that match

this is actually quite a neat feature I think

okay this is starting to look like a window

let's just copy this card

um connect that to the scene again

and import another image

let's take the glass this time

connect that to our card

and we'll move that in

the Z direction

just so it won't be sitting on top of the other card

and also because we want that

glass to be behind the frame

that's what it looks like

and we'll copy that card as well

connect that to the scene whoops

wrong way around what am I doing

and import the curtains

and we can move those back quite a bit

since we really want to have that

feeling with a moving camera that we have some parallax

this is what I'm talking about you know

the moving camera

and then you can see your curtains shift around

um so we might want to just scale them up a little bit

so we won't see their edges

there we go

there we've got our curtains

now what else could we add let's see

let's put in a read geometry

connect that to our scene oops

and choose a file

and open

now this does look a bit strange

so we need to import all the objects of our FBX file

now let's go into our 3D environment

and we can and you can see

we've got this massive lamp right here

it's way too big

so let's also add a transform

there we go

and we can really scale that down quite a bit I guess

um even more let's say

how's that

now let's move that into the correct position

lamp or

way past

and the last couple of

oh that's not pretty bad

I was going to say the last couple of inches

I'm just going to move in the 2D viewer here

so we can see what we're doing

so basically you could go in

and texture this lamp and make it look really nice

you could go and

and add another um

FBX maybe a room or furniture or really fancy geometry

you could do that

and a nice thing about that is

once we render this out here

through a scanline renderer and hit play

this can now really

create a convincing

solution here

because it's all moving with the shot

and it's got depth well

I could have added the room and then it

looked real nice

but it it creates depth and it's got parallax

so the curtains are shifting the lamp is shifting

and the 3D environment can really get you that

little extra bit for your shot

adding these window elements was really

the last thing that I wanted to cover in this course

now to finalize

let's just go through the script one more time and see

what we did

so we started

with our footage

right here we had the box that we wanted to remove

we had the reflection that we wanted to remove

we had the last train wagon that we wanted to remove

and we wanted to add a window element right here

the first thing we did is we created a patch

we we took one still frame and we painted out that box

then we then we

projected that patch onto a car in 3D space

we used our moving camera that we received through

the tracking data

we just imported that and we rendered that out

and that gave us

our patch with the movement that we needed

covering over that gray box

now additionally

we also added

a patch where our wheels

that were covered by the gray box were then recovered

and how did we go about doing that

well we selected the area of our interest

and then we moved that to the correct position

so that the box wasn't visible anymore

and then we offset the time

so that the wheels were in the right position again

and we merged that over the patch that we already had

now to get rid of one of the wagons

we constructed the setup here

which was our 3D geometry

where we projected our scene onto

and filmed that back off and rendered that out

and that gave us a stable plate

now we use the stable plate for the patch of the wheels

but we also use that to create the roto

to roto out our train wagon

then to get rid of the reflection

we simply turned a 3D point into 2D data

and used that so that

our roto shape would stick in place with a reflection

we then pulled off a luminance key

merged it to the rotor and the luminance key

and Hugh corrected that area

just darkened it down

so the reflection wouldn't be that apparent

last but not least

we added some 3D geometry to our scene

just a couple of 3D cards with images

window frame

window glass

window curtains

and we also imported an FBX and added that to our scene

that gave us

a window that moved with our shot

in the correct position and also a parallax shift

if you would look inside the window

now hopefully

next time you have some footage with unwanted objects

I hope you will be able to make use of

the 3D environment in order to get rid of them

thank you very much for watching

and my name is Derek Evelyn thank you