Advanced 3D Integration (Blender Tutorial)

hey guys welcome back to another default cube cg matter tutorial and then this one we're going to be doing a very cool effect that just takes forever to make but you're gonna learn a lot in this tutorial if you watch the whole thing through so first of all what is the effect that we're going to be making you see we just have some footage that I recorded of just this area and then oh this Batmobile kind of appearance happens like a secret layer thing and that that's the whole fact it doesn't look too good because I didn't spend too much time on it but I guess really the cool thing about this is the concept so how do we do the motion tracking how do we get a texture on our geometry that actually sticks and rotates with it and then also how do we add you know objects into our scene so once you learn you know the concepts behind this you can of course replace this with a photo realistic 3d car model you can make the floor like a rock instead of this checkerboard and yeah so again this is going to be a super long tutorial so I'm just gonna relax you guys should relax and hopefully by the end of this you understand the whole process and what is that process well first of all we're gonna take our footage which I need a mute the audio for so I don't forget we're going to take this footage I recorded or you could record your own footage we're going to take this convert it into an image sequence so instead of a video we just have a list of images and this makes motion tracking a lot easier because then we don't have to worry about frame rates and all that so video image sequence we're then going to do our motion tracking and then we're gonna make our 3d scene and put the texture on the box and everything that that's basically the workflow so let's get started I'm gonna be using blender 2.8 - you can use whatever version of blender you want so with blender open what I like to do is hit ctrl n which is going to start a new file but we're going to use the video editing preset because again the first thing we need to do is convert it into an image sequence does the fastest way to get here click Add click movie and now we just want to import in our original footage for me that's on the desktop and we'll see if I can remember which one it's this one remove the audio layer and you see we now have our footage in here and really before we export as an image sequence we want to ask ourselves do we want to trim this footage that's really the only thing you need to care about because all this framerate stuff should be set by should be set automatically when you import your footage and in the render tab you're going to notice under color management we have standard view transform which is something I always talk about because usually a filmic and it makes it look weird so standard fixes that but trim your footage if you want to so I'm gonna have it start on frame 1 and let's say instead of ending you know 250 which is past 1 the footage ends we can make it like I don't know something like 200 cool so now we're gonna have an image sequence from frame 1 to 200 and to output that just go to the output tab and we're gonna do a PNG sequence although you could get away with jpg but you want to minimize compression and art affaire you want to minimize artifacts and all that because the more data you have the better it is going to be for emotion tracking so PNG is a good way to do that we're gonna drop the compression and output we don't need an alpha channel either we are gonna output this on our desktop and do I have a folder pre-made for this I don't think so I can make a folder so create a new folder we're gonna call this rolling floor probably rotating floor would have made more sense doesn't matter sequence except ctrl f12 to render out the animation ok I feel like maybe this is only gonna be a 20 or 30 minute tutorial we'll see the motion tracking is actually gonna take the longest we're gonna try to do it manually even though an automatic solution might work even though blenders automatic stuff doesn't really exist you could just automate putting trackers on the scene ok let's see how long I can talk until this is done ok cool now that your thing is rendered you're gonna notice that in whatever folder you made you're gonna have an image sequence this is good and it goes from frame 1 all the way to 200 ok cool next we're going to ditch this project since it doesn't have a lot of the pre-made workspaces that I want so ctrl N and then we're just going to use a general no need to save ok so next step is motion tracking since we're done with the image sequence to do this go to the movie clip editor and click open to import we're going to or our rolling floor and just I think you can either select just the first frame and it might auto detect or you could just hit a just to make sure that we'll select everything and then open clip okay cool and before we forget there's a couple of things we need to make sure are correct first of all in the render tab under color management like I talked about before it's by default filmic so set it to standard and you can see that actually switches it a little so filmic standard this is important that you get right and then the only other thing is this is now frame rate independent since it's a since it's an image sequence but we do want to match the frame rate at least as close as possible so we get the same speed of playback even though it doesn't affect motion tracking so I think this was 30 frames per second okay finally we are gonna save call this untitled and we are ready to begin motion tracking now I'm going to assume that you've know a bit about motion tracking or have seen some of my tutorials but I can try to explain this as if it may be not as if this is your first time but I'll give you a little hand-holding here so first of all you're gonna notice that none of this is cached meaning that if we click play it's pretty slow so first of all we're gonna hit prefetch that's gonna put all this into memory next you're gonna notice that we also have the project going to 250 by default even though it's 200 so you can either type in 200 here or if you're lazy just hit set scene frames and that does the same thing automatically so now we have a project going from 1 to 200 with smooth footage or an image sequence playing because its own memory okay so now to do our motion tracking we need to get a trackers existing throughout the whole shot at least any aids I can switch between which 8 those are so we're gonna start off by setting up our tracker so we want normalized so again them be invariant to lighting intensities which I don't think is an issue here we're also going to use either perspective or affine perspective is better but takes longer but it's fine we're going to use perspective and this is going to let it track changes in perspective with our tracker and then finally in our tracking settings extra I'm going to have it have a correlation meaning that it needs to be 90% accurate frame-by-frame otherwise it's gonna stop okay cool so now you know what all those mean and we're going to control click you know maybe this leaf and make that a bit bigger all 2s for our search box this is where the tracker this pattern this is where the tracker is going to look for this pattern within the search box so you want this big but not too big because the bigger it is the longer it takes to calculate once you're happy with that you get a track for words hitting I think this button know this button or you could have memorize the shortcut which is a ctrl T and you can see that is tracking very nicely and it made it to frame 150 before losing it for some reason so let's go back a frame maybe the search box needs to be a bit bigger and then ctrl T again okay this one made it to 170 now and the issue as you can see our pattern area has now hit the edge so we can just correct that by making it smaller so this is just a lot of manual tracking stuff now it's definitely not gonna make it to the end of the footage so we can just end it here at 176 so lock it by either hitting ctrl L or in the track which is all the settings for this tracker lock it like this okay so now we want to try to pick trackers that exist throughout the whole shops and maybe a bit further back is the way to do this so maybe this thing would be a good contender so the same thing as last time ctrl T and then after a bit we're going to start a not doing them one by one so that we save a bit of time by the way if you're wondering how I centered this on the screen you hit L or this button to lock it to the center that made it all the way through control L so now we have two trackers that exist almost at the holeshot we need a few more and it's a good idea to pick them at different depths and at different 2d location so right now we have them focused on this area of the screen so towards the center we also want ones on the top the bottom go left the right and again also in chain in different depths as well and three dimensions so this is a good contender for all those things I just talked about ctrl T hopefully this stays in frame ah it looks like it might not make it you know what I'm just gonna restart this one and have it track kind of like the bottom of this - because then I think we'll run into less issues nope that is definitely not making it either way we can lock the tracker pick some other options now I did track this before but I didn't really remember what which trackers I used I can just say check this or use this piece of the wall here but I forgot what the best trackers were for this but that's fine because that means we're gonna discover it together so so far I think we only have two trackers that last you at the whole shot let's try to get this one I think this is gonna be a good contender and really when I'm looking whoops that is not doing too well we'll let it finish when I'm looking for trackers I'm just looking for areas of high contrast and areas that have a bit of detail as well is how I'm picking these spots so I think this one should be pretty good a lock and really we only need eight of these total so it's not that long of a process you just need to pick a good options so that one was fast what else and again with your footage assuming you're not using my footage by the way if you want this footage I'll probably make that available on patreon if people on it but if you're using your own footage it's really just about applying these principles because you don't really know what trackers to use since I'm demonstrating on my own footage so really just look for areas of high contrast that have good amount of detail and have a good variety in 2d and 3d location so really I'm just hitting ctrl T a bunch of times until it makes it to the end of the shot so we have a bunch here it'd be nice to get some on the right or the left or the foreground let's try the left I'm seeing a good tracker over here although I have a feeling it's going to go off frame oh by the way there's some heavy perspective distortion because this so curb thing is much higher than the floor so me not use that instead we can take we can sample only from the floor although that should go off frame pretty quickly we can lock it anyways what are some other good options of course this whole ground area almost all of it is a good option even though it's a bit repetitive but I don't think the tracker is gonna have any issue with that and by the tracker I mean a blender blenders tracking algorithms okay we can make that a bit smaller the pattern doesn't eat that much data but the reason I'm not just using trackers all from the floor is again that's not gonna actually give us a solution it might not even it might even give us an error because it's not able to solve because it doesn't have any difference in elevation which is important usually but I think we are almost done it's a shame that all these trackers aren't making it throughout the whole shot that keeps hitting the edge of the frame but that's fine even if you have trackers that exist half the shot they're still worth having usually generally if it's a good tracker then it's worth having if it has a lot of sliding then you know get rid of it okay that was a good one and I feel like we only need one or two more that exists throughout the whole shot let's try something over here I'm thinking we sample from here as an obvious choice although seems to have the issue whatever we'll lock it there and then of course we can also since we have a lot of trackers that exist halfway through we want the same thing but in the other direction so you can go to the last frame that's shift or right arrow and then we can just pick one and then track backwards there's there's no reason we can't do that so let's do something like that although I have found that tracking backwards is a bit slower for some reason instead of ctrl T you either hit this button or shift ctrl T yeah you can tell that's a bit slower and it's not just because I picked a large pattern in a search area it definitely is slower but this way I think we can guarantee that this one will last throughout the whole shot and soon I think we'll be done in terms of having eight trackers existing throughout the whole shot okay cool you know what I'm not sure if we have them but I think we might so let's assume that we do if not we can always add another once you've added your trackers and they're all locked again I hit eight and hit ctrl L just to check then we want to go to the solve panel and we don't want to enable tripod since this isn't a tripod shot it's moving it's a free move through a 3d space you could pick a keyframe a keyframe B I'm not going to explain what those mean because I've done that whole explanation before in a four hour tutorial but what you need to know is that we don't want to pick these numbers ourselves because I don't want to do it so instead we're gonna enable this which is going to pick two values that should be pretty good okay and then solve camera motion and it seems to be processing so maybe we do have a trackers and right off the bat we get a solve error of 0.9 and that that kind of describes the drift and pixels that you can expect per frame so under one is pretty good ideally we want this as small as possible so what we can do is if we're okay with this if not you can just keep hitting this button although we might just get the same solution once you're okay with this what we're gonna do is we're gonna disable keyframes so now we've locked into these two that it's selected we don't want to have it keep switching and then we're gonna refine I don't want to do distortion for this tutorial even though it might be a bit important we're just gonna do focal length so again it's going to use these keyframes but now we're also going to ask blender to guess what focal length my camera was how zoomed in was I solve and notice that once it compensates for this hour has dropped with the same keyframes it has dropped from point nine two under point five and yeah we could probably do a bit better like we could change the weights of some of these trackers and everything which might might be something we can do let's look into it I want it to be a comprehensive tutorial let's enable info and that's going to show each tracker it's going to show the average year and notice this point four eight is these is the average of these averages so some of these have to be pretty high some of them pretty low so I'm seeing some like 0.6 is some other stuff now this isn't like a hundred percent technique but generally if you pick a high or a tracker and just bring down the weight a little we can have it solve a again and now we've gone from point 42 0.46 and then all these errors update I'm just gonna tackle this one since it has a pretty high error and generally you can use this method to whittle down to solve air closer and closer to zero but you don't want to overdo it because at that point you're not going to get a solve that's representative of your shot anymore most likely again all these things depend on a shot per shot basis okay I'm happy with 0.42 I would have been happy with 0.9 as well okay this is fine now what do we need to do we need to take our solve and put it in our 3d scene so set everything up how do we do that well first of all I'm gonna show our viewport just so we can see that stuff is imported I'm just going to delete everything so once we have our camera solved with a good solve error we're now going to hit set up tracking scene which is going to take this and it takes our camera solve and puts it here and notice that our camera when we click play is now moving and how is it moving well it's moving hopefully in the same way that our real physical camera is moving now you notice that it might be doing the trick however this floor this plane and cube kind of looks like it's drifting in the air and not attaching and that could be because we have a bad camera solved but really it's because our coordinate system is all off what do I mean by that well these trackers at least the ones on the floor so these ones not the ones up on the wall these trackers should be on the XY plane and if we haven't oriented our scene correctly that won't be the case so I can just select three of these so just any three that are on the floor and then hit the floor button which you can see just repositions our cameras such that now it kind of looks like everything is accurate although it's way too big so what we can do is we can first center it pick a tracker and make this our origin so this is where the world origin is going to be and then let's choose relative to this origin something to the left or kind of like down the y axis so I'm going to pick something down the y axis I imagine that these two trackers are forming and I want that line to be our y-axis so you see that reorients everything and then finally for these two trackers I'm gonna set scale to something like four so there's going to be four blender units or four meters or whatever between these trackers in 3d space which I think already looks pretty good so now let's see what we have it's not going to be perfect since you know we didn't spend too much time on it but you can see it's definitely somewhat correct okay let's do a save so now let's do a bit more correction before we're done so this origin I feel like it's too far back we want to kind of like here closer to where I would be filming and you could do that by like moving this plane towards the camera but I want all this stuff to stay on the origin so really we just want to move the camera which will make it look like the other objects are moving so select your camera and then G Y and then we're gonna pull that just a little and then we can also do some rotation on the z axis to make this kind of we want this line of the plane to be parallel to this curb and I think we did that and now GX although we could fix this a bit you see it's not perfectly parallel so our Z and you know what we can't make it perfect but this is much better than it was before and you can check that it's working okay by just playing and seeing if it looks like it's on the floor okay I think we are done with motion tracking cool we did the image sequence we did the motion tracking now it is setting up our scene and putting this texture on the geometry so first of all to get rid of this cube and take this plane and scale it down and really what I'm doing is I'm defining what area do I want to be are like turn not a turntable but what do we want to have the ground flip or where do we want it either way just scale down your plane now because we want this to be three-dimensional most likely you don't need it to be three-dimensional actually maybe we should do a 2d version for this one let's do it so normally what I did before is I just you know lemons edit mode II for extrude Z and that just gave a depth so it's or like a block rotating but really the principles are the same and in fact the method I'm about to do which I haven't done before will actually teach you a bit more so we'll do an infinitely thin thin thing so first thing we need to make sure of is that this has a UV map which it should but let's check UV editing yes it's a single face which doesn't not have I guess it doesn't let's see either way select your face you unwrap now it's unwrapped I guess when you hit set up tracking scene the plane that it adds by default doesn't have a UV map but now does so again I just hit you unwrap now so now it has a very very basic on wrap so now the question is how do I get my ground texture at least the section of the floor that it's kind of overlapping here so how do I get how do I extract this texture and put it on here there's a couple ways to do that in Hebrew it would say project from view which I don't think is probably the right way to do this it works here's what I would recommend what we're gonna do is we're gonna find a frame where it's all in frame so this wouldn't be a good one because the coroners cut off and maybe I'm just gonna move this a bit further deeper what we want to do is pick a frame where it's all in there but also we want to pick a frame where we're the closest to us because imagine we're extracting this texture we want this to be the highest resolution possible if it's off in the distance we can only extract like a 25 by 25 pixel thing here we can extract maybe like a quarter of the frame it's taking up about a quarter of the area of this 1920 by 1080 frame so get as close as possible I'm gonna say that this frame is fine and then we're gonna go to the shading workspace and create a material for this although I did run into this issue before the same way this didn't have a UV map and it might just be because of like this whole foreground background issue I guess so basically what I'm doing is this set up tracking scene sets up a lot of stuff that I don't like and one of those things is all these collections we can actually just get rid of that so I'm just moved everything into the foreground collection and also the compositing workspace it adds all these nodes which in this case is helpful for us but whatever either way we have our plane the material is now showing up because I moved everything into the foreground which means we can also delete this a background view layer don't worry about that okay cool and notice that you know this material is updating so how do we get the texture to extract and be projected onto there well the way we do it is we're going to add a image texture we are then going to select whatever frame were on and in this case I think we're on 126th let me just make sure yeah we're on frame 126 so what we want to do is import not the image sequence but just the frame that were on so in this case 126 so open rolling floor and then find 126 which might be different for you depending on what section of the floor you want so 126 and you see that this is definitely the same image that we're seeing however it's not that section of the floor it's just kind of putting the whole thing in there my ears are hurting that's why I keep whatever how do we fix this you're going to hit ctrl T if you have node Wrangler so that's edit preferences add-ons type in node Wrangler and you can just enable that if you don't want to do that just add a mapping node and a texture coordinate so node I guess actually we don't even need the mapping node you just need texture coordinates so if you don't want to do ctrl T just shift a texture coordinates and instead of using UV coordinates we're gonna use window windowed coordinates which you see does the right thing and you're gonna notice that this is kind of like brighter or at least higher contrast than the background and that's because it's not an issue it's because if we go to camera camera settings background images we just need to crank this up and then it will be the same contrast or whatever brightness either way windowed coordinates work although if we go in 3d view you see it's just gonna take whatever section of the screen we're on so it's a view dependent and some sense so we want to make sure we're looking from the camera for this to be correct and then you're you're thinking okay that's fine but how do we rotate this you know if we rotate this it's not sticking with the texture it's actually just updating as we do it what that means is we need to bake this texture and then it will be applied to this and we're gonna use UV coordinates then so I'm gonna duplicate this image texture note and just get rid of the you know frame 126 instead we want to create a new image and the nice thing about this is since it's a plane and the UV map or the single UV Island UV face takes up the whole thing all our resolution is going to be used in a good way so we can click new and we don't even need anything that big so this is fine thousand 24 by thousand 24 is fine and then now we're gonna do our baking if you don't know how to bake you need to make sure you're in cycle zv doesn't bake i don't know if it's like a feature that's missing or it's impossible because of what evey is either way go to cycles use GPU you only need to one sample for this and then make sure that your object is selected in this case the plane make sure that the node where you created the new image is selected so in this case this one and then go to bake and we're just gonna hit bake cool and you see from here this is all baked in it's kind of like we extracted that piece that piece of the image and just made it a square which is nice and you can think of this image which we can save by the way that's all shipped us i think we could just save it on here because one blender closes it doesn't necessarily say that i'll do this so save although this isn't necessary if you don't close your project this texture is stored in here this node which means we can do eat this connected here and notice that now it looks the same as the windowed coordinates thing but now if we go to 3d it kind of sticks on there right it's not reviewed dependent and that's because it's using either UV or generated in this case i don't think it matters maybe it flips it i guess it flips it but generally doesn't matter okay cool which means we can now rotate it and you can see it's sticking on there now of course we have the issue of both sides of it both sides of it are bricks whereas before what i showed you is this kind of like thick thing I made before it wasn't a plane but it was a cube and I was able to get you know different materials on different parts of it so the question is how do we apply material to this side and then a different one to this side even though they're the same face which hopefully I can figure out on the spot since that's what I said I'd be doing differently in this tutorial but don't worry there's a easy way to fit to use this to our advantage so let's say that we want this as our top face and for our bottom face it doesn't really matter you know I'm going to use a checker checker board although you could use like a different image texture it doesn't matter or you could use a color so how do we get this on one side this on the other will the trick is you add a geometry node and notice that we have something called back facing I'm going to view it back facing you're gonna notice it's just black however if we look at the bottom hopefully it's white meaning that we've somehow isolated the top and bottom of the same face which is strange because what you need to realize is this isn't like a face and then a different one down here it's literally changing the color just as we go above the horizon but you can't tell so that's the nice thing about back facing which means you're thinking okay fine how do we use this well what we do is we mix these together with the mix RGB you can either add a mix RGB or use the shortcut which is control shift right click drag so we're mixing these together which kind of makes them each 50 / 50 percent transparent but if we use this as our factor this back facing you're gonna notice brick checkerboard even though it's one object infinitely then that's the way we do it and additionally there's no reason that we can't instead of doing a mix RGB we could take it one step further we could do a mix shader' will view that and then we're gonna plug this in here this and here back facing as our thing and you're thinking okay what's the difference well the difference is we can now use BSD F's which means I can add in a diffuse be SDF to the checkerboard version sorry for the cut there had to figure something out quickly I don't know what I was talking about before but either way make sure we switch back to evey and then go to rendered mode I think I was running into a rendered mode issue what I was saying is that we're gonna put a diffuse be SDF in this checker sector which means that if we move around our light which i think is what I was talking about this reacts to our lighting however the bricks do not which you think oh why wouldn't we want that you know we could just put another diffuse there and now it's reacting to the lighting right why do we not want that the reason is if we have it react to the lighting it's not gonna blend in with our shot again let me show you diffuse be SDF now it's not blending in even though it has all this nice lighting it's not what we want in this case and what we could do is we could have it turn more and more into diffuse be SDF as this object rotates which is fine you could do that I'm not going to do that so either way we upgraded to a mixed shader which means that on our top which is one side of our back facing on our top we're just gonna have the image just pump drawn to the material no processing nothing and then on the bottom we're going to use our checker but it does react to lighting okay so that is our material we could do some other fancy stuff but that's fine and the nice thing about this is it's one material instead of two materials with the thicker cube solution but that's fine next what we want to do is even if we animate this rotating you still see the ground below it right because the the footage is in the background there's no like coal beneath to add that what we're going to do is we're going to duplicate shift D right click to s enter and then we're going to call this hole or something for this one we're going to create a new material we can just have it be a BS D F that's fine and I like the idea of making it a bit darker or something like this and we want this to be our hole so we're going to go to edit mode extrude that's e Z downwards and then we can also delete this F face so it's kind of like a bowl if that makes sense if we hide this it's kind of like a bowl and we can make this a bit lower like that such that when we play this doesn't you know it doesn't really show up anywhere except on this edge here which we're gonna fix but when we rotate this on the y-axis you see there's now a nice hole in there and we want to add a bit of lighting so we can actually see what's going on so like five hundred make that a bit higher make that a bit softer so now when we rotate yes now we can kind of see what's going on and again you can make better lighting than I am I'm just not going to do good lighting which is whatever that's just my my thing okay so now the question is how do we fix this side that we see so for example if we hit render now actually first of all render tab to get rid of the background render tab film transparent f12 to render you're gonna notice that it kind of looks like nothing has changed even though our plane has actually been rendered it's just overlaid and has the same perspective so it looks the same even though the texture is on there but you're going to notice that we do have this issue over here so we're gonna need to fix that so the way we fix that is notice that we could correct it for all four of these sides but I think it only shows up for this one so what we're gonna do is we're going to actually shows up for these two so we're gonna go into edit mode we're gonna select this we're gonna extrude it so it's kind of obstructing our view of this on same thing for this one in fact we could extrude both of these this way so think of these three faces as something that's blocking our view so imagine these three weren't here does that fix the issue yes now we can't see it so now what material do we want to give to these three to fix the issue well first of all we're going to go to the material tab we're going to create a second slot with a new material so now we have one object with two material slots and for the second material we're going to call this holdout and all we need to do is we're gonna add in a hold call hallo hallo a holdout into the surface but you see it's not updating and the question is why is it not updating and the reason is while we do have two slots all the faces - this first slot meaning that we need to have this material selected go into edit mode edit mode we're gonna select these three faces hold out a sign so now we've assigned to our holdout material or really we assign the second slot to these three faces which makes it transparent which kind of looks weird in the viewport but when we hit render now it should look like you know nothing has changed even though again again if we go to compositing and luckily all these nodes are already here for us but if we go to compositing you see this is what we rendered just this point and everything else is transparent and then we just overlaid it on top of our footage and by the way since I got rid of the background we can get rid of this node and get rid of this node but you don't need to do that it's fine if you keep it I think okay cool so now we have our basic setup so now the rest of it's pretty simple so what are we going to do we are going to go like 60 frames then we're gonna select our ground eye for keyframe rotation and let's have it take like up to frame 1 ton doesn't really matter rotate on the y-axis by a hundred eighty - 180 and notice that now we have our checkerboard and it's reacting to lighting slightly so here's what that looks like and because of our setup it's going to look like there's a hole in the ground and we can't see these exposed faces because of the hold out shader so that's the beauty of the setup so that's a render like an intermediary frame yeah you can see it's really reacting to the lighting since this light is right above there so now really the final component is just having some object to be there I had a monkey doesn't really matter what you pick so shift a mesh now let's do donut for this one and I'm just going to position it so it's right above the floor and then how do we make it in here at the rotation motion well obviously select the object shift select the other one so now both are selected but this is the active one ctrl P for parents and then by object so we made this this Taurus the child of this parent the rotating thing which means they're moving together but since this is infinitely thin it's kind of poking out at the bottom there so what I'm gonna do is I'm just gonna make that tiny bit lower like that which should still look good so this is what it looks like on the last frame notice that our lighting is still here and you're gonna want to match the lighting you know this kind of looks like it doesn't fit in here at all and it doesn't but uh you could spend time doing that I've spent time making this tutorial we all need to invest a bit of time into this okay so let's say that is our final shot and again we don't need to worry about compositing notes since it does it for us but if you're curious what's happening here is we have our movie clip which is basically our footage it's just what I filmed you're not going to see any rendered layers on top of it so it takes this it throws it through a unda storage in this case doesn't matter because we didn't try to calculate our k-1 k-2 lens distortion value so this note effectively does nothing so we're going to delete it so we have our footage whoops we have our footage it's then scaling to fit which in this case again doesn't matter if we picked a different output resolution than 1920 by 1080 then it matter so again we can I guess we could just delete it it doesn't matter so we have our footage and then we're using an alpha over node keep clicking the run we have our footage and we're using this alpha over to overlay this which is our 3d asset on top of it it's real it's really that simple so let's have this be very very nice and organized so here here's our node our node network it's really really simple let's render a frame okay so now let's say we're happy with our project of course there's more stuff you can add you can add motion blur you can add more integration so it doesn't look horrible but when you're happy with this we're going to render this out as a video so let's do ffmpeg which is a video codec we're going to choose mp4 high-quality and then we want to export our video as finally done ctrl f12 to render now since this is Eevee I think we switch TV that's where I cut the video before since this is Eevee it's gonna render pretty fast now there is an argument to be made that these frames I'm rendering right now before the rotation even happens is a waste of time and beyond that it's actually bad for our final render and the reason for that is in the beginning you're not even gonna see anything different from the original footage it hasn't flipped yet but additionally since we projected our texture on you know frame 126 or whatever for all the frames before that from 1 to 126 you might see a bit of drifting there because I'm assuming that the motion tracking was perfect up until that point otherwise that point will be slightly off on frame 1 which will make it kind of visible where it is so it's a good idea to only start rendering on frame what it wouldn't whenever the rotation start so you have the normal footage and then you can't to the render which you shouldn't be able to tell that there was a cut okay so hopefully this is almost done we don't have to have it go all the way to 200 because from here on out it's just you know right there well I would go to like 150 or something but um while while that happens and we we are gonna watch it if you enjoyed this tutorial which isn't over but if you enjoyed it patreon is the best way to support this channel so anybody who is willing to donate there I really appreciate it it really is a major part of what lets me do these tutorials as a job without patreon I couldn't do it so anybody wants to do that a big THANK YOU for me you do get benefits like discord private private parts of the discord server you get access to you get access to some private tutorials you also get tutorial files etc but I I see it more as a donation than a purchase but you do you do get stuff so it is kind of a purchase to anybody who's willing to do that greatly appreciate it I guess we are waiting to 200 since I got carried away with the patreon thing there oh I just scratched my nose too hard huh started crying hopefully I'm not bleeding either way here is our render and then look at that so we kind of made a core version it kind of looks better than the original has that infinitely thin thing going on and you're probably not gonna see what I was talking about before where there's a bit of drifting but I can see it it is there so really again we don't want to render the whole thing only want one it starts turning and then here is the original so you can compare this kind of looks lame in comparison but it makes more physical sense that it has thickness so before my nose bleeds out I guess I should end this again anybody who's willing to become a patron greatly appreciated but either way I hope you enjoyed this free tutorial I've been default keep CG matter you've been you see ya

Channel: Default Cube

Views: 106,277

Rating: 4.9725475 out of 5

Keywords: blender, motion tracking, tutorial

Id: 7ubTPpIiw3M

Length: 40min 59sec (2459 seconds)

Published: Tue Mar 24 2020