Advanced Screen Replacement

hey this is Jesse Tula for bedframe calm and welcome to this tutorial on screen replacement now screen replacement is probably one of the most common visual effects that's done nowadays whether it's a Skype shot on a computer or texting on a cell phone almost any movie you see is going to have some sort of screen replacement inside of it and sometimes it can be really simple other times it can be more complex this is a fairly more complex shot that we're going to be working on so let's start by just watching through this clip so you can see that the phone is picked up flipped over and brought up in the frame there's a thumb over top of the screen that swipes and then the phone's taken out now some of the things about this clip one when the phone's at its furthest point not only is there a good amount of motion blur that you can see but it's also out of focus all of these things are things that we're going to think about and deal with in the post process so the first thing you want to do when you're getting started is to think about the type of tracking points are going to use so let's take a look at the raw footage you can see that we had a green-screen with with a coin or a little pie shaped tracking marker that's blue and red now when you're planning at your shot you should think about the type of tracking marker that you want to use because depending on the shot itself the movement of the phone and the camera different tracking markers are going to give you different advantages and disadvantages when you're doing your post work so let's go to another comp so I can show you a couple different marker types and their different advantages and disadvantages so here you see we have that coin you have a simple plus a dot and then we have this triangle inside of a circle now all of these markers if they were maintained in focus no motion blur would all give you good results when you're doing your tracking however you can see here in the second row when these markers go out of focus their usability goes way down now the reason that I went with this coin marker is because you can see that even when it's out of focus you can still find the center point of this marker you can see the shapes and you can see that the center point is right here now with the plus shape you can see that becomes just this blob so we kind of lose any detail that we would need when we're doing this tracking same with the dot and the triangle you get some contrast but finding that center point isn't going to be too easy when we look at the motion blur we sort of get similar results with the coin shape we can still find that center point we see the contrast between the two colors the plus icon here works however because of the disadvantages in the out-of-focus it's not going to work in this situation and it's sort of the same for the other two tracking markers so in this instance because of the different factors that are coming to play in our shot in this composition with a motion blur and the out-of-focus this coin was the best choice for me now you may disagree and you might have different preferences and you can use whatever tracking marker you'd like but I felt that this one gave me the most advantages the only disadvantage with using a marker like this is that it's size has to be relatively large in order to get the detail in that cross and so getting rid of the markers afterwards is a little bit more difficult now I didn't even maintaining the reflections in this case so rather than trying to key out or get rid of these markers I just overlay my screen directly over top so these markers being more difficult to get rid of didn't really affect me in this shot now let me show you a different instance this is more of a simple screen replacement shot where you might want to use a different type of marker so let me turn off the screen and you can see that in this case I just use a simple corner marker because for one the hand never goes over top so I didn't have to have a colored background and because the corners are always visible there's not much motion tracking to do I can just get away with this simple edge marker and because the screen is blank it's just a black screen and what you're seeing here is simply the reflection we're able to use those reflections over top of our screen replacement so you can see it this is with the reflections on and if I turn them off that's the reflections off so you can see what that adds and makes it look a little bit more realistic helps to integrate that screen better into our shot so depending on your shot you might want to use a different type of tracking marker it's all going to be dependent on what you're doing so you should think about this before you do the shot now you might be thinking that well if you're going to do this planning ahead of time and make sure you have the correct tracking markers and why not just get rid of the problems that we have such as the depth of field issue and our motion blur why not just use a tighter shutter angle so that we don't get the motion blur and close down to a tighter stop so that we don't have to worry about the focus well the thing about that is that unless the rest of your scene or the rest of their movie is shot that same way then it's going to stand out as being different from the rest of everything so you don't want to have to change a shot just to make the visual effects work the visual effects should fit in to the shot that you're doing so I don't have to worry about changing the entire look of the movie just to make a visual effect work I'm going to do what I can to plan my visual effects so that I can make them fit into the rest of the movie and that way the effects become less noticeable when you're watching it with the rest of the scene if you change everything then it's going to stand out as being a visual effect shot all right so let's get started on doing this once we get to the post process let's start a new project okay so let's start by importing our footage drag this in here and we'll create a new composition out of that and just name these a little bit of organization going here okay now the first thing we have to do once we have our footage imported is to get our motion track set now if the motion tracking is even a little bit off you're going to notice it in your final render so this is a very important step now we have plenty were talking about motion trackers we have mocha FRAP effects we've plenty of third party motion trackers but I'm actually just going to stick with the built-in track motion option in After Effects and the reason for this is that because of all the issues that we talked about such as the motion blur the phone flipping over the out-of-focus all of these different issues we're actually gonna have a few problems no matter what motion tracker we use so I'm just going to go the more manual route use this motion tracking and some manual motion tracking to get this done and actually going to end up saving us a little bit of time so to start my motion track I'm going to go to a point where we have some decent focus and as little motion blur as possible which is probably right on it round here and I'm just going to drag a little mark right here just so I can start all four of our different motion tracks from the same point each time so let's start really start with this top left point and the first thing you do is we'll create a null object and the null object is going to end up holding all the tracking data that we get from this point so look at a layer new null object I'm just going to label this TL for top left and point okay let's go back to our composition so now we have this null object we're actually not going to use that until the tracking is done so let's click on our footage and let's hit track motion and right away it's going to bring up our track point and we'll just position this over the center of our point now I'm actually going to keep our feature region which is the smaller box inside smaller than our track point I found that if you use the whole point it has a more difficult time finding that center area so I'm actually going to shrink it down so it fits inside and we'll extend this box now if you haven't done much tracking within matter effects let me talk a little bit about what these two boxes are these smaller boxes called our feature region and this is the region that's going to be searched and attempted to be matched throughout the tracking process so whatever is inside this box is what After Effects is going to be looking for now the larger area is where After Effects will be looking for the feature region so this one's called the search region now you want to keep the search region as small as possible while still allowing room for these feature region to move around so if we had made it this small as soon as this point moves it's probably gonna be outside of that search region and after-effects won't be able to find it so you keep this large enough that any motion that happens from frame to frame will still be able to maintain that track point now let's actually go into the options as well so here we have our motion tracker options and we're really only to worry about this lower section so down here we have the channel and you can see I have it set to RGB now by default I believe it's set to luminance and because our three colors back here are actually straight red stripe blue and straight green the luminances are all pretty similar so if we kept it selected for this track it's going to have a hard time finding these points because of how similar in luminance all the colors are to each other so I'm actually going to select RGB because you can see the contrast between the colors and RGB searches for colors rather than luminance or saturation now if we chose saturation because all of these are 100% green 100% red 100 blue the saturation for each of them is actually exactly the same so this wouldn't be able to find a thing if we used saturation as our search Channel so let's keep that in RGB and then down here you can see enhanced before matched rec fields and a couple more options and let's talk about each of these enhance the four match what this does is actually blurs out your image just a little bit to get rid of any grain or other noise issues that you might run into I'm actually gonna uncheck this because we don't know worried about this in this case however if you're getting problems because of noise in your image then you might want to check this box Trek fields is for interlaced footage what it actually does is separate the upper and lower fields into two separate video clips it tracks them both separately and then combines that tracking data now this is progressive footage so that option is going to be left unchecked sub-pixel positioning with this we do want to leave checked if it was unchecked basically if your track ended up between a pixel or somewhere not directly on a pixel after effects would round that position to the nearest pixel now we want our track to be as accurate as possible or else we're going to notice those issues so we're going to keep these sub pixel positioning turned on now the last option adapt feature on every frame what this does is right now you can see what our feature region looks like and it's going to continue searching for this feature region all the way throughout the track backwards and forwards now if it gets to a point where the confidence is below 80% so if after-effects isn't quite sure if it's found that tracker it's going to adapt the feature which means that wherever it loses that confidence it's going to re cache what it uses as that feature region and change it so that it can continue to find that feature throughout the track now what this means for us is that when it starts to go out of focus or when the motion blur starts to overtake our tracker it's going to have to adapt that feature to search for the out-of-focus tracker rather than the in focus tracker now it's confidence is set to 80% which means that if it is anywhere from 80 to 100% confidence it's going to keep on going with the same feature but if it drops below it's going to adapt the feature and change it so to continue to search now I'm actually going to change this to stop tracking so what that's going to do is as soon as it goes below 80% competence the tracks just going to stop we can manually readjust where that track points supposed to be and then continue on from there so this is how we're going to leave our tracking options you can change these depending on your particular track so we'll hit okay and you can see here that we're in the middle of our footage so we're going to have to track both forwards and backwards but I'm just going to start by tracking forwards so with the track forwards button let this go you can see it stopped that's because it's unable to find that tracking marker and you can see that the motion blur has gotten pretty bad so it's drop below that eighty percent confidence that we talked about and the tracking stopped now the rest of this clip is actually just that marker leaving the frame and I'm going to correct this later on not using the motion tracking down here we're going to do that manually in a minute so I'm just going to go back to this marked point and now I'm going to track backwards okay so it's gotten to its next point and stopped and you can see right here that this track point is actually a little a little bit off and that we're going to have to do some manual adjusting so you I'll just show you I'll just this point simply by clicking in the area between the search and the feature region adjust this to the center and I'm going to go frame by frame now so we're actually going to be analyzing backwards and kept that pretty good and we'll just continue to click through you can see it lost it there just undo a couple times track backwards over time and now you can see that it's pretty much completely lost our track and even though we can sort of see where the center of this point is you can see that the detail is completely gone so any sort of auto tracking is not going to do much for us so this is as far as we're going to take the automatic tracking the rest of this will do manually so let's apply this to our null object what we're going to do is choose edit target and make sure that null object is already selected if it wasn't you can choose from the list of layers and then we simply hit apply and we want to apply to both the X and the y and we'll hit okay so now back in our composition view you can see that we have our null object and it's moving right along with that track point for the region that we selected and tracked so now I'm going to go through and do the next three trackers before we go through and do the manual part of the tracking process so once again we'll create a new null object name it top right point go back into our footage track motion again gives us a new track point place it on the center extend our search region make sure options are still set which they are and we're going to go back actually I set this in the wrong point let's go back to our same point that we set with our marker just move this a little bit and make it a little bit bigger and we will track backwards or actually let's start by tracking forwards so it only got a couple frames that time see if we can get any more out of our auto tracking and it's doing a pretty decent job so I still fall off a little bit there so we'll stop there and we'll correct this later on go back to the start again and do our track backwards you okay so that one did a pretty good job of tracking all the way through the shot and this as far as we need to take it now you might be wondering why we're keeping this attach point which is that little plus icon in the center of our tracker rather than putting it up in the corner of our phone now if you don't know what that means if we take and drag this up to that corner point then when we apply it to the null object rather than the null object being centered on our point it would actually be centered up in the top left corner now because this is where we want our final corner pin to be you might be thinking that this would be a more useful point to put it however if we were to put that up there it'd be fine as long as the phone was to stay the same distance away from the camera now because as the shot goes on the phone actually comes closer the distance from the center of the track point to the corner of the phone actually changes relative to where a camera is so putting the track point up for one point won't work for a few frames later it's going to keep on changing so we're actually going to keep our attach point directly on here and we'll adjust it with the corner pin effect later on so let's apply this data to our null object make sure we have the top right one selected hit OK and apply so now you can see we have two null objects for the top two track points all right so I'm just going to skip ahead here but it's the exact same process for these bottom two track points okay so I'm now I've gone through and I've created these bottom two track points and we have their nulls and if we drop down the keyframes for these layers you can see that they're all they all different amount of keyframes and none of them actually make it all the way throughout the entire shot so we're going to do now is manually go through and finish out the tracking for each of these different points so let me just turn off everything with the top left and I'm going to create a new null object and just going to name this manual track and what I'm going to do is actually go through starting from where we lose the track with our auto tracking so let's zoom in here so we can see these keyframes little better so I can start right here and we'll copy this one keyframe and then I'm just going to use the page up key on my keyboard to go frame-by-frame backwards to adjust this null object to the center point so this is when using that coin TrackPoint comes in handy because you can still find that center point even though this is out of focused and blurry you can still see where the center of this point is you and it's a little bit tricky for this frame so I'll just guess and we can always adjust this later okay so that's all we need to do as soon as we get past this frame the phone's flipped over so what I'm going to do is simply copy these frames make sure my time slider is on that first frame copied here select my top left point position and hit paste and now we have those frames applied to our other track point and we'll just do that same thing you to the end so zoom in here copy this frame paste it onto this layer and we'll scrub through now you can see here that because of the motion blur it's getting pretty difficult to figure out exactly where the middle is but if you look at how our motion blur you can see it's sort of got all of these separate circles you can see that where they overlap in the middle is a little bit darker than the other part of the motion blur so that's how we can find that center point a little bit easier you and one thing to remember is that because we are doing this motion tracking by hand and everything is going to be maintained throughout the project with these four null logic track points we'll be able to adjust anything throughout the entire project in case we need to to make this track work a little bit better but everything should be fine with this manual track so we have some good track points there select these keyframes scrub to the first frame and paste them on to our actual track point so now we'll repeat this for our next point so we can turn this one off turn this on just to see it and a little tool that I've made for myself I found it to be a little bit easier and a little bit more time-saving rather than moving the null object is a little effect called manual track so what we're going to do and this is available right now only for Windows I'll put it up on the site to use this we're going to do is select our manual track null go to effect bed frame and manual track and you can see it just gives us the simple control so we're going to do is keyframe the track point turn that on and our step size right now is how many frames forward we want to get after each click so to use this we're actually keep it set to one right now and I'm going to hold the control key and you can see it my cursor changes to this crosshair and when you click the mouse it automatically sets that keyframe and moves a frame forwards so now rather than having to use the page down key to go frame forwards and move a null object you can simply click using the crosshair where you want that keyframe to be just guess for that last one and now rather than copying the position keyframes for the lair or actually copy the track point keyframe so we'll select all these ctrl C to copy go to our second null which if we go to our layer names you can see is the top right point and paste them on to position and now you can see if we look those keyframes just as before have been applied to our actual track point and then we can just go and undo those keyframes for that layer so one more time and then I'll skip ahead go back to the beginning for this keyframe and this one actually might have already been okay but it can use a little bit of improving and since this time we already have the keyframes for this layer all the way through we'll actually just do some adjusting manually just using the arrow keys so you can see that there's plenty of different ways to admit just your track anything will work depending on what you prefer as long as we get these key frames for the different points in the end now if you can get your keyframes perfect without having to do any manual adjustment that's great the more time save it better you can also get these points using milk or any other tracker as long as we have these four track points for our four corners everything's going to work out for us in the end so I'm just gonna go ahead and do the tracking for these last two points and I'll see you when that's done okay so now I've completed the tracks for all four of our points and I've done all the manual tracking that we'd needed to do so if we scrub through you can now see that all four of these null objects are tracked to the respective track points so what I want to do now is just double check everything by placing one of these track points into the scene and just making sure that everything's lining up and blurring correctly because next thing I want to check is that motion blur make sure it's working the way we want it to so let's create a new composition real quick and I'll just make it 100 by 100 create a new solid we'll just match the colors that are there so 55 here and we'll double-click the ellipse tool to make a circle and we'll go to effect transition and radio light which is down of your screen and we'll just make this 75% so we have a piece of our pie and we'll duplicate this set the rotation to nating then we'll create a new solid change the color to red zero here 2:55 here put it below and once again double-click our lips tool so now we have the same tracking marker that we used on the phone and we can go back into our main comp and we'll just name this tracker so let's drop this in and we can get rid of this manual track null joining that anymore and let's copy the current position from our top left tracking point we'll parent it to that track point and I'm just going to scale this down just to match the track point we've got and maybe I'll even match the rotate it looks like the rotations pretty much match they're cool so let's turn on motion blur for this layer turn on motion blur for the composition and let's go through this step-by-step let's give us some more room in this composition window so let's go through we turn this opacity down to 50 so we can see underneath let's go to somewhere we have a lot of motion blur okay so let's see here we have our tracker and we have the actual tracker and if we turn off our tracker you can see that the motion blur for ours is way ahead of where this trackers is so what we have to do here is make some adjustments to our composition settings in order to get our motion blur to match up with our actual footage now let's solo this out for a second and we'll turn off the checkerboard and you can see right now that the motion blur from our After Effects layer is actually in front of the layer itself and what this means is that After Effects is generating the motion blur based on whatever the next frame is now in a lot of instances if you're doing motion graphics this isn't going to make a difference and it will still look fine however in this case what this means is that the motion blur for our layer is actually going to start before the motion starts to take place and that's going to be a problem that you're going to notice in the end result because the layer will start to blur before anything in the image has actually started to move so we can actually adjust this by going into our composition settings under the Advanced tab and playing with these motion blur settings now by default our shutter angle is set to 180 our shutter phase is set to zero our samples for frame is set to 16 and our adaptive sample limit is set to 128 now we're going to actually adjust all of these now the first thing I want to do is match our shutter angle now the shutter angle from our footage was actually somewhere around 235 which is why we have so much motion blur the higher the shutter angle the more motion blur you get if you have a lower shutter angle it's going to be less like getting in and less motion blur so we actually had a pretty open shutter angle here so I set this to 235 to match I move this over the side you can see when I change this to 235 that motion blur trail actually got longer and that's because of our more open shutter now let's turn this back to a solo just so we can see what the next change does go back into a composition settings into the events tab now we're going to mess with the shutter phase and what we want to do is make it so that our tracker the entire motion blur shifts to the right so it's more centered with our track point so let's turn that track point on just we can get a reference for where we are so you can see right now the motion blur is completely in front of that point and as we adjust the shutter phase you can see how that motion blur is shifting so what we're going to do is go into the negative area so that it's more centered now if you want this to be exact what you actually want to do is take half of your shutter angle and throw it into the negative space so since our shutter angle is 235 our shutter phase is actually going to be negative 117 which is just about half of 235 so negative 117 and you can see that now we're completely centered with our motion blur hit okay unsolo these layers and you can see that now we're pretty much matched on top of our actual footage now if we look at this footage another thing we can see is that there are actually separate circles different instances of the motion blur and you can sort of see each separate piece of motion and if we count those up there's actually about 8 separate instances of our motion blur and we can match that as well using the other two settings so if we go into our composition settings you can see right now we have samples for frame is set to 16 and our adaptive sample limit is set to 128 now what this means is that by default it's going to use 16 samples per frame and if it's needed meaning if there's a lot of motion going on it can automatically change that sample and up to 128 samples of the most in order to make that motion blur completely smooth now a lot of times that's a good thing however in our case we're actually trying to match this not very smooth motion blur from our actual footage so since we said there were eight samples here that we could visibly see we're going to go in and change both of these numbers down to 8 and what that's going to do is make it so maximum at any time there can only be 8 separate samples for our motion blur and you can see the change that that's caused if we solo these out again you can see now our motion blur that we have doesn't look very pretty but it matches much closer to what we actually have from our footage okay so now let's zoom out here and let's just do a quick render of this and watch how this TrackPoint moves you can see that it's doing a really good job of staying directly on top of our lair and moving perfectly with that tract point that's underneath it so that's a good way to test to make sure that your tracks working well another way to use these fake trackers is to improve your motion track now if you go through and you find that your track is not good enough you can actually use these attach to null object to adjust the track by just trying to match your tracker to the one below it so if you can't get your track to work out perfectly you can try that method but I'm actually pretty happy with how my track points are looking so it's actually time to start working on the screen replacement itself all right so let's import that screen footage just drag it in here and I'm just going to drag it into a new composition so here you have our screen I've done this ahead of time so it already matches the motion of the thumb but you would have to match that on your own time for your own projects so what I'm going to do to start is pre-comp this composition and I want to set the size of this composition to match our main comp which is 1920 by 1080 so composition settings 1920 by 1080 leave it square pixels and everything else can stay the same and then I want to stretch this composition to fit inside this frame so transform and fit to comp so you can see now we have it's stretched out and matching the size of this frame and what that's going to do is when we apply our corner pin it'll correct itself and work well for our shot so now we can drop in this screen to confidence just call this let's just call this stretched come and we can drag it into our main comp we're gonna apply the CC power pin effect now the reason we went with power pin rather than just the basic corner pin effect is because of this expansion section down here at the bottom and I'll talk about that in a second let's start by attaching all of these different points to our track points so give us a little bit more room here alt click on the stopwatch which will bring everything up down here and then we're just going to pick whip our points up here to our null objects down here so I'll click top left and drag it down to the top left position top right to the top right position and so on okay and then if we go back and look at our composition you can see now that our frame is matched directly on to those points and it follows it as we go through and now is when we use these expansion options down here at the bottom so let's go back to that same frame that we marked before and what I'm going to do is simply increase these different parameters to match our actual screen and if you want to just make sure that there aren't going to be any issues later on it's better to err on too much stretch rather than too little because if you have too much when we do the key it'll still be covered up if you go too little then you're going to have sections where there's just no data at all so you might want to go just a little bit more than you need to if at all so you can see we have eight and sixteen and assuming everything works the values for the top and bottom are the same and the values for left and right are the same so let's just make this an even 16 and we'll match it for our other values and then we can just double check that everything worked out so you can see that all looks pretty good if anything perhaps we'll make the left stretch out a little bit more but it's looking pretty good right now so if we scrub through this you can see that we're pretty well matched if we turn on our motion blur you can see that everything is doing pretty well now we are getting a little bit of this green fringe when we do our key that's going to go away become black and you'll never notice it so now let's get on with our key so let's get rid of this tracker here we don't need that anymore and the track points we have to keep because they're using expressions and driving our powerpoint effect but we can show those away for now so now we just have our footage and our screen replacement so let's actually drag that screen below and let's get to work on our key so we're going to go to effect and keylight and we're just going to click on the screen over by the corner and that'll probably work out good enough for our whole shot and we're going to actually do just to make this a little bit better is actually change it to intermediate result we're going to use a couple of the new features in After Effects we're going to use the key cleaner and the advanced spill suppressor now in order for the key cleaner to work we actually want to set this View mode to intermediate result which is why I did that before so now we can go in here we'll search for key cleaner which is under the same keying section as key light and we can drag that on and we'll actually leave this at the default settings and if we turn this on and off you can see it's giving us a little bit there to make our key more accurate and then we can finish it out with the advanced spill suppressor and you can see that just gets rid of all that green so our key is looking pretty good you can see we have these sharp corners if we go to somewhere where everything's still you can see we've got those sharp corners and I might just want to extend out the frame a little bit more than what we have so let's actually go to 17 here and 17 here and you can see that just gives us a little bit more to play with and we might even be able to go a little bit more than that but I'll leave it at 17 for now now the problem that we still have is these tracking markers we need to get rid of those too now I'm not worried about getting rid of reflections they're already pretty much gone from our key so instead of may be keying these out the red in the blue I'm actually just going to use a matte to get rid of the tracking markers themselves so what I want to do is create a new solid doesn't matter what color because we're just going to use it as a matte and I'm going to copy the power pin effect onto this red salad so now you can see that it's matched on the screen the same as our stretch composition the only change here that I want to make is I want to scale the expansion down so it's just covering those tracking markers you and now I want to use this as a track mat for our footage layer now the issue that we're going to run into here is that that alpha mat and I should actually alpha mat inverted is going to have a problem when we start to get into the motion blur so let's find a place where there's lots of motion blur and you can see that these points those track points are actually showing through and if we turn on the motion blur for this layer you can see that they're still sort of there so what I want to do is pre-compose this layer and we're going to move all attributes to the new composition and the problem we're going to have and we do this is that our expressions that are linking that PowerPoint effect are going to be completely gone so we'll get to some errors but we can fix that by opening up this composition and we'll just drag this over to the right go into our main comp and we'll drop those track points back down again view their keyframes we can do the same thing over here and we'll just simply relink these expressions you okay so now everything's connected again and close this out and we're back in our main comp have to turn on the motion blur inside of that pre-cum so let's go back in there we can shy these back again go back in here turn on our motion blur again okay so now we're good to go and what this allows us to do is apply the levels effect to our alpha Channel and if we drag these down to the left side the motion blur if we turn the Slayer on is going to become more opaque you can see without the levels effect and as we increase this the semi opaque parts of the layer are becoming completely opaque which blocks out the tracking markers completely and then if you want just so you don't see that harsh edge is we can add back in a little bit of blur maybe like five pixels worth just so you don't see that edge and that will work out to get rid of our tracking marker so now we're getting really close to being done with this effect the last thing that we have to do is the last big thing we have to do is add this thumb back over top of our layer so the first thing we're to do is create a duplicate of our footage put it on top and we're just going to cut out the thumb so I'm just going to a really loose roto and we give us just a few extra points to play with and without worrying really how precise is it all I'm going to go through and do a very loose quick keyframe on this mask and the only part we're worrying about is the thumb itself mainly and really only where it's over the screen if it's not over the screen we don't really care you and we want to make sure we don't see those trackers in there you okay so you can see that this is a very ugly roto but it will get the job done and it will do what we needed to do I'm actually going to move it to a separate layer though when making a mat because you can see we're getting these strange issues and making it a mat rather than a mask on the layer we'll solve that so create a new solid go to the first keyframe of this mask and copy it and paste it onto this layer and we'll change it to an alpha mat and we'll just turn off this layer so now you can see we have our thumb and our hand over top of the screen and if we scrub through you can see everything's working all right so now let's just perfect this key for the thumb itself so we're going to turn off these layers will actually delete these to reset key light and we'll just select the green right near the thumb and that'll just give us a nice a better key compared to what we had before you can see that Reds peeking through there a little bit you just want to adjust it to get rid of that wherever you see that I'm just going to keep it loose and fast for now just for the tutorial and I'm actually just going to leave it at the just keylight for this portion of our shop okay so we're pretty close now to being done with this shot we have some obvious color correction to do we can change the start time of our screen so that it's not popping through the back of the phone so let's go to the first frame where we want to see it which is probably around right here and start the lair there all and the opening square bracket to do that and we'll also start these other layers at the same time so it's normal until here and then once our screen comes in then we will add the rest now you can see down here we're having a little issue with the key so let's fix that real quick let's just change the screen color we'll go back to source and let's change the screen color to match this area and let's actually use the advanced bill stressor for this layer as well so I'm going to change it from source to intermediate result and then I'll just add in this advanced spill suppressor and that cleans it up pretty well so we'll stick with that so now we have our thumb back on top all we have left is to add in the focus change and I also want to add in a little bit of a reflection you can see here that as the phone is lifted up which kind of a highlight that happens towards the top half of the phone so I want to recreate that just using a simple gradient so we're gonna go to layer new solid and doesn't matter what color the cell it is create that and I'm going to drop it just above our stretched comp and then we actually want to copy and paste the same CC power pin effect from our stretch comp layer onto this red solid so copy and paste and now our red cell it has the same keyframes and then what I want to do is add a gradient effect so going to go to effect generate and gradient ramp and I'm going to drag this effect above the power pin effect so you can see we're getting this gradient and I'm going to swap the colors and then I'm going to change the blending mode from normal to screen so you can see it's gotten rid of the black and all we're left with is that white area and this is a little bit too intense so I'm going to change the opacity down to somewhere around 30 33 we'll stick with that so now I want to scrub backwards and you can see how the top of the phone where it is black is turning to this brighter color because of that reflection so that's what we're trying to match here so I'm going to go back to before it starts which is right around here and I'm going to keyframe the opacity down to zero so we have a first keyframe at zero scrub forwards until it kind of gets to its most intense point you can see it's changing back so probably right around this area is when it said it's full reflection and we'll change that up to the 33 we had before scrub forward a little bit more until it's gone and I'll change it back down to zero so you can see we've sort of matched that same reflection that we have in our footage I make this a little bit bigger so you can see you can see that now that we've matched that reflection everything really blends well and just adding that simple gradient ramp really makes it feel like that screen is supposed to be there like it was shot with the screen already there now the only thing we have to do is match that depth of field make it so it's out of focus when the phone is first flipped over and it's really not that out of focus so we're just going to add just a very small fast blur to this layer and we'll just do a simple to keyframe move from when it's ads for this point to when it's brought into focus so I'm going to go to blur and sharpen and fast blur we'll just make it something like five and that'll be fine and we'll set a keyframe when it's at its four this point and maybe we'll actually change it so it doesn't start going into focus until the phone actually starts moving towards the camera so let's move that blurring this keyframe to here step forwards until it's brought all the way in the focus which is right around here and we'll just keep every time zero you so now with the reflection and the change in focus you can see we've created a pretty good match and because our motion blur settings were changed the motion blur matches as well so if we do a quick render on this you can see we've created here the phone flips over comes into focus and moves out the motion blur matches the reflection when the phone is picked up matches everything's looking pretty good now the only thing we do have to change is the color of the entire image you can see everything looks a little bit washed out that was done purposely just to maintain as much detail as possible in the footage let's just add a quick adjustment layer drop this on top and I'm just going to use the levels effect and just very simply increase the contrast I think that makes everything look a lot better so let's do another Ram preview and here you can see our final result so that's it for this tutorial I hope you learned a little bit more about motion tracking and how you can make things easier on yourself even if you have to do manual motion tracking so hope that you can use what you've learned and work a little bit faster when you're doing your own projects without having to go through some of the headaches that go along with doing screen replacement but yeah that's it for this tutorial my name is Jesse Tula for batch Francom and I will see you in the next one

Channel: Batch Frame

Views: 63,219

Keywords: motion tracking, screen replacement, cell phone, screen, batchframe, batch frame, jesse toula, visual effects, manual motion tracking, Phone, Touchscreen, Effects, After

Id: otAk-lgQFns

Length: 50min 33sec (3033 seconds)

Published: Sun Jul 12 2015