Blender City Set Extension: Full Tutorial!

what's up guys it's brad from light architect here in this video i'm going to be showing how you can add some cg set extensions to your live action footage inside a blender i'll be covering the entire scene setup from start to finish including camera tracking inside of blender as well as some basic environmental lighting and the entire compositing process instead of blender i'll be using some of our new city builder 3d procedural assets that we've just uploaded on blender market but feel free to use any detailed 3d building asset of your choice anyways guys let's get started here we are inside a blender as always first we will just delete everything in our scene here and first we need to import our footage and track it so go ahead and click on our plus tab up here and go to visual effects and then motion tracking and i'll just go to our open button here and i'll find the footage that i want to track and add our cg building to so i'll go ahead and navigate to where i've saved the footage i'm going to use and i'll select it and open it and you can also use an image sequence for this step i know some people prefer to use image sequences as they can be a little bit more stable but i've never had any problems using a basic video file so i'm going to go ahead and use a video file for this example and this is our shot here i'm going to go ahead and click on set scene frames here so that our blender project is automatically set up for the number of frames in our live action shot here and i'll also click on the prefetch button which will automatically load all of the frames from this file into our project file so there isn't a lot of buffering and now as you can see here we can kind of scroll through our project without any buffering issues and this is the shot we're going to be adding our 3d building to i'm going to add a few assets here in the distance but first as i mentioned we should track our footage we don't have too much camera parallax through the scene so it should be a pretty simple track i'll go ahead and go to the beginning of our scene here i'll go to tracking settings and i'll use the blurry footage option just in case we need a little bit more pattern or search size or you can also adjust them manually and i'll just um at the beginning of our footage here i'll just click on detect features and as you can see here it's only selecting four different points to track here so what i'm going to do is i'm going to select our detect features little panel here and i will decrease the threshold where blender is going to choose the points and i think that should be about right you can also add your own points manually by pressing ctrl and left click and then you can add you know your own tracking points at different places of contrast in your scene and then of course you can also adjust it to make sure you get kind of the point that you want but i'm going to use the detect features for this tutorial and i'll go ahead and press b i'll select all of our track points and then i will click on this track markers button at the bottom of our blender panel here and now blender is going to go through our scene and track all of our points and i would say this is a really successful track already just because i don't see any of our tracking points slipping or anything if you do see some points slipping you can select them and delete them and then you can also use the clean up function here and the saw panel i'll go ahead and show you guys how to do that even though i probably don't need it i also have a tutorial on more advanced camera tracking as well in case your shot is particularly difficult i'll put that tutorial as a link in the description but if you wanted to clean this track first make sure you have enough tracking points throughout your footage you may need to use detect features a few more times along the timeline and then track those points forward and backwards so that you have enough points throughout your entire shot but once you have at least eight points you can go to the solve panel here and since our shot isn't really moving through 3d space here i'm going to check the tripod checkbox that's going to tell blender that our camera is not moving too much throughout 3d space and it can use that data to help solve a more basic camera movement and i'll also click on refine focal length refine optical center and refine radial distortion and then i will just click on solve camera motion here and as you can see here i have a solve error of 0.47 pixels which is pretty good however i'm going to try to get it a little bit lower just for the sake of this tutorial and show you guys how you can clean it up a bit better the first thing i look for as i mentioned is some you know points that might be slipping off of their points of contrast but i don't see any points slipping off so i'm going to instead use the cleanup section here so i'll just click on clean tracks and then what you can do here is you can increase your reprojection error to choose points that have a higher projection error so as we move this reprojection threshold over it's going to only select the points with this amount of error or above so let's say we want to select all the points that have a .45 ever or above so in other words the points that aren't as good now it's going to select those for us and what we can do is we can press x and delete them and now we can reselect our tracks here and then click on solve camera motion again and as you can see here we got a solve error of 0.21 so in other words half of our previous solve error which is going to be a much better track and now that we've tracked our footage one thing we need to do is actually add a camera to our scene so i'll press in our graph editor here i'll press shift a and add a camera and then i will go ahead and choose a point of origin for our shot here i'll go ahead and just select one of these points off in the distance and click on set origin and it's not perfect here but we're going to have to adjust it anyway luckily it's not too complex and this should be fine to work with you can also set the scale of the scene so for example if you know that the distance between these two points is for example 10 meters you can select them both and then set that distance here and then set the scale of these two points and then apply it but what we've done so far should be enough one thing i do want to do is set our footage as the background for our scene so this is going to help us in the compositing process so i'll go ahead and click on that and as you can see here now we have our footage in our background of our camera in the 3d world and i'm also going to click on setup tracking scene which is going to give us a foreground collection with a cube in it for our cg element as a basic cg element it's also going to give us a background collection with a ground plane that's automatically set up as a shadow catcher and this is just a nice way that you can set up your 3d scene fairly quickly and it'll save you a lot of manual time but anyways this is looking pretty good now i'll go back to layout mode here and as you can see here if i go here and enable motion tracking and rotate our camera up you can actually see our camera moving and panning and tilting as if it were the live action shot in our scene and if we go to viewpoint camera you can see that each of these motion tracking markers is stuck to the footage like you would expect and it's a good idea to preview this before you continue your 3d process as uh sometimes you might get some errors or some slipping or something and you want to try to correct that as soon as possible but this is looking pretty good now let's go ahead and start setting up our scene to add our cg element in the background here so first i'm going to go to solid mode here i'm going to go ahead and delete our cube here and i'm also going to delete our light that blender has set up for us and i'm just going to select our camera and i rotate it i'm just going to put it on the y-axis here just near the base of the grid something like this and maybe bring it up yeah something like this should be pretty good maybe scale it up a little bit as well just so we can see the scene a bit better you can try to be a little more accurate with it if you want if you want to follow like the uh proper distance conventions but this should work for us i'm going to select our ground plane here and scale it up and we don't actually need a shadow catcher in our scene however we do want some environment from below our cg building so we'll go ahead and keep our ground plane for that and now let's go ahead and add our cg asset to our live action shot so i'll go ahead and go to our city builder 3d tab here and you can use any three asset of your choice as i mentioned we have lots of assets here but in particular for this specific tutorial i'm going to use some of our new procedural assets so i'll click on procedural hong kong this is probably my favorite procedural asset that we've made so far and as you can see when you click on it it's going to enter the middle of your scene here and this asset is super easy to control once you select it you can just go to the modifier tab here and we have some customizable settings that you can play with you can change the length of the building you can change the width of the building and of course you can change the height of the building as well and finally we've also added a randomized setting where you can randomize your entire city element so i mentioned this before but this is really useful for the top elements if you want to create some variety up here perhaps you have five or six of the same hong kong procedural asset in your scene and you want to give it some variety you can very easily do that with your randomized setting here just kind of scroll until you get something that you like and then of course also you know your length width and height are also fully editable from asset to asset but anyways i'll go ahead and close our city builder 3d tab here and i'll open up a new window and then on this right tab i'll go to view and viewpoint camera and now i can more easily design our shot from camera view on this side and then from our 3d world view on the left side here so i'll just kind of drag this off into the distance where i want to place them in the scene i'll go 90 degrees and kind of just put this right around here and you want to make sure that it's far enough in the distance you obviously don't want it really close to the camera as it would be before these points here that we've tracked in the foreground so we want to make sure it's pretty far off in the distance um you can try to match your skill exactly if you'd like but since this is a pretty basic set extension this should work just fine so i'll go with something like this maybe might decrease the height of our asset a little bit maybe increase the length a little bit that should be about right drag it over and then randomize it as well and now i'll go ahead and press shift d i'll duplicate our asset press x and bring it over to the left a bit i'll uh bring it back in the scene a little bit behind this main building then i'll edit it a little bit to give it some variation so maybe i'll change the length i'll make it a little bit skinnier maybe and then i'll increase the height a bit so it's a little bit higher than our first asset here probably something like that is pretty good and then i'll uh press shift d again i'll duplicate this one again and i'll place this one off to the left of our initial building and then i'll bring down the height a bit i'll randomize it a bit and i would say this is looking pretty good alright so now that we've added our cg buildings to our scene we want to make sure that they're lit relatively the same as our live action shot is this is going to be some pretty simple lighting as you can see for our live action shot in our right panel here it's mostly just the ambience from the sky that's lighting these buildings so what we can do is we can just use a very basic hdri that's a similar environment to this live action shot and then we can use our ground plane with a color that's similar to our buildings in the foreground here so that our shadows from below our cg city are fairly accurate and the even better way to do this is to actually project perhaps an image of our city environment onto this plane here so i might actually do that as well just to show you guys that process it's pretty simple to do let's go ahead and first start with adding an hdri to our environment here first i'm going to save our project just in case our computer crashes or something alright so first we'll go to our camera render properties tab here and i'll change the render engine to cycles you can also use ev but for live action shots i tend to use cycles as obviously the lighting is going to be a little more realistic and while i'm here i'll go ahead and change some render settings as well so i'll change the render samples to 32 and then i'll click on denoising i'll use surrender denoising here and under advanced i'll select the seed stopwatch so that when we render out every frame of this there's some noise variation in that and the rest of this should be pretty good now let's set up an hdri to light our assets here so i'll go to our world settings and as you can see if i go to rendered mode really quick you can see that well actually our assets are totally dark right now so the reason for that is because they are on our background collection so all we have to do to solve that is just select them all really quick and i'll press m and i will move them to the foreground collection and now as you can see here we have our 3d assets in our scene but the lighting on them is not realistic at all so that's why we need to add our hdri right now we're just letting them with a color background so we'll go ahead and change this to an environment texture and it's going to go purple for a second here that's just because we need to load our hdri so go ahead and click on open here and go to downloads where i've saved my hdri and i'm going to use this one called cannery wharf it's just kind of a cloudy city hdr it's not exactly where our live action shot takes place obviously but i don't actually have an hdr from that environment so it'll be close enough and then i'll just click on open image and now as you can see here we got some nice city lighting on top of our assets and one thing we want to do obviously when we render this out we don't want to see our hdr in the background so we want to go to our render properties tab here and then under film we want to change it to transparent and now our background will be rendered as an alpha channel alright so the hdr is giving us some nice environmental lighting but it is quite a bit bright for our live action shot here so what i like to do is i'll just view the general brightness of our preview of the hdri here and then i'll bring down the strength at the same time so maybe i'll do something like .22 and now as you can see here this is matching the general intensity of our live action shot might actually increase it a little bit maybe try something like 0.26 and that should be about right our assets are looking pretty good over here so we're going to go with it all right so this kind of city background type set extension is fairly simple so in my experience often an hdri is just enough to integrate these cg elements into the environment however for this specific tutorial i'm going to show you guys how you can use some camera projection on this ground plane here and then place our ground plane below our cg city elements so that the environment is a little bit more accurate i also have a more specific tutorial on camera projection if you want to learn how to do that i'll put that tutorial as a link in the description as well but it's one of the best ways to recreate your live action shot around your cg element so that the lighting is as accurate as possible and the cz element integrates into your shot much better but um anyways i'm going to just do a very basic projection for this shot so what we're going to do is we're going to use this screenshot from our footage and we're going to actually project it onto our ground plane here so that these buildings have a little bit more realistic environment in addition to the hdr so what we can do here i'll go ahead and scale up our ground plane along the x-axis and i'll put it just below our city assets and i'll scale it up on the y as well actually before we place it below our city assets let's just bring it up so that it fills up our camera here since we're going to project the image from the camera and i'll just go to uh edit mode really quick and i will go to edge and subdivide our plane here and i'll increase the number of cuts to maybe 10 and that's just so we can get a little bit more accurate projection and now while our ground plane is selected i'll go to our materials tab i'll create a new material and i'll just use a basic principle shader for this one sometimes you can use emission shaders for projections but for this specific example if you wanted to use this as a shadow catcher you would not be able to use an emission shader but i'll just go to base color here i'll use an image texture and then we're going to find our screenshot from our footage i've just labeled it city footage screenshot for projection then i'll click on open image and now what we can do here is we can go into edit mode and while all of our vertices are selected we'll go to u and then project from view and now if we go to rendered view actually if we go into render view you won't see anything because this ground plane is a shadow catcher and it's also on our background layer so what we can do is we'll just move it up to our foreground layer really quick now as you can see you can see the shadows but no projection yet but to see it we can just go to object properties and under visibility we'll deselect the shadow catcher and now as you can see here we have this kind of weird projection from above but if we go to camera view you'll see that it's actually our background image projected onto this geometry and we don't actually want to render this out but this is useful because now our hcri is bouncing off of this ground plane here which has similar reflections to our live action shot and that light is going to bounce and hit our cc elements again not really necessary for this kind of shot but i thought i'd just show you guys how to do it anyway just in case you need to create some more realistic reflections in your scene anyways now i'll just go ahead and re-enable our shadow catcher and then i'll just bring this down to our background layer so we don't render it out anymore all right so now we'll bring our ground plane down here below our cg elements all the way and finally it is time to render out a frame of our cg elements here and start the compositing process so before we do that let's go ahead and make sure our render settings are correct i'll go to our render properties panel here i'm going to render out at 32 samples uh we'll leave the denoising on like we set it you can keep motion blur on if you want i'm going to leave it on in this case um let's see here we'll go to output we want to do 1920x1080 at 100 under output we'll go ahead and click on our output folder here and we'll choose a spot to save our animation let's see here we'll call this hk city set extension final composite okay and we'll choose a name for the file [Music] all right so we just created a folder and in that folder we chose a name for our file and go ahead and press accept and you can use png if you want but i usually use opening xr for visual effects shots and yeah this should be pretty good i'll go ahead and save our project once more and then i'll click on render and render image and give blender a second to render out your building so that we can composite it on top of our live action shot in the compositor alright guys so blender has rendered out our foreground and our background layers here and this is our final result without doing any compositing as you can see some pretty good detail in the render lots of cool variation in these buildings let's get into the compositor and blend it into the footage more seamlessly so i'll go ahead and close this here and one thing i mentioned i should have mentioned this before we rendered out our shot but we don't actually need to render out this secondary background layer because that just contains our shadow path and it's not going to be necessary because we don't actually see the shadows that these buildings are casting so i'll go ahead and go to our background layer really quick and then i will just click on x and remove that as a view layer so now we just have one view layer for our composite and now let's go to our compositing tab here and this is where we can adjust all of our compositing settings as you can see we're a little bit too zoomed in here so i'll just press v a few times on the keyboard to bring it out to full view here and now as you can see here we have two different foreground view layers going into this alpha over node this particular node here was previously our background view layer that we deleted so i'll go ahead and just delete this one really quick and i will also bring this alpha over node to our composite and this one to our viewer as we don't need this outfit over node since we're not using that shadow pass that was down here go ahead and delete that and now we can start working on our composite here so what we have right now is uh just our general live action shot here it's going through an undistortion node and scale node to make sure that it's the right size for our render and the reason these are there is because when we did our motion tracking we told blender to refine the focal length optical center and the radial distortion so that's why these are automatically added to our scene as nodes for our live action footage and our cg buildings here on the foreground layer are just being combined on top of our live action shot with this alpha over node so the first thing we're going to do is try to color correct our cg buildings to match our live action shot a bit better so i'll go ahead and press shift a and we'll go to color and color balance and we'll add this right in between the alpha over node and our render layer for our buildings and we'll just start kind of tweaking the color of our assets here so i think we want to push a little bit of blue into our shot here on the shadows i'm just pushing a little bit of kind of a light blue color and already it's looking pretty good you can also play around with the mid tones a bit maybe you want to push a little green in there it's a little much probably just a little bit blue green maybe see that's looking pretty good and then we can adjust the highlights i'm not sure this is going to do much because there's not a lot of highlights in our footage other than the neon signs but let's just see yeah it doesn't really do much so we'll leave the highlights alone for now i'll go ahead and bring this over here and now what i'm going to do is i'm going to reduce the contrast of our city element as i mentioned many times in previous videos as things get further off into the distance there's generally a reduction of contrast as well as a reduction of saturation which is why for example the buildings here in the background in the live action shot is kind of desaturated and misty so one way we can get that effect on our cg elements that we're adding is by reducing the contrast and decreasing the saturation and you can also add a missed pass if you'd like but for this specific composite we're just going to do the former i'll go ahead and press shift a we will add an rgb curves node and then i'll just bring up this bottom point and bring down the highlights i might bring them both down actually but just bring the highlights down more there's a little bit of tweaking involved here to just kind of match your particular shot but we're just trying to get the colors as well as the contrast and saturation to match our background where these buildings would be in our live action shot now let's go ahead and bring down the saturation a tiny bit so i'll just press shift a and i'll go to hue saturation at that node right here and i'll just bring down the saturation by ten percent so i'll press point nine on our saturation and reduce mostly our neon signs here but already it's looking much better in comparison to our original result and we can come back to this later to integrate these buildings further but now what we want to do is actually take out the portion of these buildings that would be overlapped by our live-action buildings here in the foreground so there are a few ways to do that the first technique i'm going to use is i'm going to extract the sky and use the color of the skies particularly kind of like the luminance value of the sky to isolate it and hide the portion of the footage that's a bit darker here like the buildings in the foreground so pretty much any time i can not do a lot of masking or rotoscoping and i can use the information from the live action shot to create a mask i'm going to try to do that so to key out the sky and use it as a mask first we'll select our movie clip as well as our undistortion and scale node here and i'll press shift d duplicate them and place them down here and now we'll press shift a and we'll go to matte and then we'll use a distance key you can use a variety of these keying techniques but i found for these kind of luminance values that distance key works pretty well so i'll go ahead and add that here i'll move our image to our distance key and now i'll go ahead and under our key color i'll use the eyedrop tool and select the color of our sky here and as you can see nothing happened yet because we don't have a viewer node of what we're doing here but what we can do is we can go ahead and press shift a add a viewer node and then move our image to this viewer node and click on it and now as you can see here we have kind of a matte of the color of our sky here it's not perfect but it's a start so i'm going to adjust some of our distance key values i might decrease the tolerance to maybe .09 so it's not quite as tolerant we have a little bit harder edge on our mat here and then also for the fall off i might bring down 2.09 as well and you'll have to adjust these settings accordingly but pretty much the bigger the falloff is the more kind of your original sky color will blur into the other parts of the shot and the tolerance is as you can see here if you just hold your mouse over it depending on how you change this the color distances below this threshold are keyed i think this is going to make a pretty nice mask for our building here you can also see the matte in the viewer node as well that's looking pretty good um one thing i'm noticing here is that there are some artifacts in our sky where there's some grain so what we can do to deal with that is we can press shift a and we can use a dilate erode node go ahead and add that here and then i'll set the dialite erode to maybe 10 and as you can see that's the opposite of what we need we actually want to do maybe negative ten maybe negative one actually negative one is pretty good depending on where you put this it's just going to erode your mat so as you can see if we bring it down you're gonna have less of a mat if you bring it up you're gonna have an extension of your original mat that you've created with your distance key so i think negative one is about right negative one is just taking away those artifacts that we saw on our mat and another thing you can do to kind of blend these masks is we can press shift a and we can add a blur to the matte and we'll just make it a very basic bokeh blur and maybe do like 2 pixels on the x and the y axis maybe 3 pixels and it's just kind of blurring our mat so that it kind of blends a bit better and i might decrease our tolerance a bit more here so it's a little bit cleaner all right so this is looking pretty good here now we want to do is actually overlay our mat on top of our cg buildings here so that they're only showing up behind the foreground buildings here in the shot so i'll go ahead and delete this viewer node really quick and go to our main node so what we can do here is we can press shift a and add a set alpha node and i'll put this right after our color correction on our cg building input and then i will take all of our nodes that we've created for our matte and then i'll move the image here to the alpha and now as you can see here we're getting the exact opposite of what we want instead of hiding the buildings in the foreground we're actually hiding the entire sky so to solve that is super easy we can just press shift a and we'll go to color and then invert and then invert that entire element and as you can see here we're getting kind of what we want but we're seeing a little bit too much through the building here so what we can do is we can decrease the tolerance a bit maybe 0.6 now we're getting a little bit more of a hard mat maybe decrease the fall off as well now we're getting a much better hard mat let me try a tolerance of 0.05 i'll increase the fall off you'll have to adjust your own settings here depending on your shot but the key is obviously is you don't want your building to show up through our foreground buildings here so i think .08 is about right for our tolerance for our distance key then for our fall off maybe point zero two um we're having a little issue with our trees here but i think if we just dilate and erode it a little bit more maybe keying out these trees is a little bit tricky but i think once we add our mask and continue with the rest of our compositing steps it's still going to look pretty good now as you can see here if i um move our compositing node tree out of the way we have a pretty good separation here for these buildings in kind of the mid ground of the shot but right here our building here in the foreground because it's the same color as the sky that we've keyed out it's actually showing up as an alpha and in addition to this there's a little bit of building showing up through this uh corner live action building as well so what we need to do to solve this is actually just create our own mask inside a blender and use that in the compositing node tree as well to do that what we can do is we'll just go to this plus button here and add a new workspace and we'll go to visual effects and then masking and we'll just select our same footage that we've used and now what we can do is we can create a new mask and we can press ctrl click and start adding different pieces of our mask i'm just going to kind of cut out this building here in the far left and i won't worry about these trees right now go all the way down to this building i'm just holding down control and left clicking to set up this mask i'm gonna go all the way around these elements and uh you can be as accurate as you want for the sake of this tutorial i'm going to be kind of quick with it here all right so this should be good go ahead and close the mask and now we can label it we can label it left buildings mask now we have a label so we can find it in our compositor and one thing we want to do for this mask instead of rotoscoping this out frame by frame what we're going to do is we're going to go to mask and we're going to parent this mask to our live action footage and then now we can choose the parent type we want to use a point track of one of our tracking points that we've added through our camera tracking process so we can just kind of choose one of the tracking points here or if we want we can press b select all of our points here and then hold down shift while we select a tracking point and then press ctrl p and now as you can see here if we play through our footage our entire mask is going to be tracked to this point in our scene here which as you can see is working pretty nicely um one thing i might do before we go back to the compositor and use this mask as an input is actually scale the feather a bit i can click on this and then scroll my mouse or i can press option s and then i can actually scale up the amount that this mask is going to be feathered not too much feathering on this maybe just barely a feather and i also think that we're going to have to invert this mask the other way around so we're not actually masking this portion but rather this portion so to do that we can press on switch direction and now as you can see here our mask switched to masking out this portion instead of the portion outside of it all right so now that we have a mask let's use this mask input inside of the compositor so i'll go to the compositing tab and i will add another set alpha node so i'll go ahead and press shift d while this set alpha node is selected and duplicate it and now what we want to do is we want to input our mask to this set alpha node so we'll go ahead and press shift a again and we'll go to input and then mask and then we'll select our left building's mass that we've created and then we'll input this into our alpha channel and we also want to use a dilate erode node on this mask as well so i'll go ahead and use this one over here i'll press shift d duplicate it and i'll maybe just do negative one for this for now and now what we want to do is we want to use this set alpha node with both the mask and our live action footage to tell blender what parts of the footage that we want as an alpha channel to use as a mask so um what we can do here we'll just move this down to the bottom here so we can work with it separately for now we can select our movie clip our undistortion and our scale node here for our live action shot i'll press shift d duplicate that and i will move our live action shot to the image input of our set alpha and now what we can do is uh let's go ahead and make some space on our node tree here but now what we can do is we can create another alpha over node before our main alpha over node so i'll press shift d and add this alpha over node right after our distance key set alpha and then we can connect our mask node tree here to the bottom input of this alpha over node and now as you can see we uh don't have any issues with our buildings here in the foreground and our composite is looking much more integrated all right guys so we're about 90 there let's do some final tweaks on this shot before we get our final result all right so the first thing i actually remember that i forgot to do on our cg building background element is actually adjust the blur of this specific element so as you can see some of the environment in the distance here for our live action shot is a little bit blurry so what we want to try to do is match that on our ct element so right after our hue and saturation value for our cg building element i'll press shift a and i will add a filter bokeh blur node here and i'll just add that and at first obviously this is not what we want really nice way to add some bokeh by the way but it's not obviously going to match so what we'll do is just change the size here to point maybe point one i think and now it's much more realistic again depending on your shot you may want to adjust it a little bit more but i think this is looking pretty good i might um bring down the contrast a little bit more to integrate it into the environment a little better i'm gonna have to play with the color correction to try to match it to our scene now that we've masked out the foreground it's a little bit easier to match it to our background and one thing we could also do on top of our building here to blend it into our environment even better and to lift the shadows even more to kind of put our assets further off into the distance or give it that feel anyway we can press shift a use a color and a mix node right after our bokeh blur we can bring down our factor here to zero and then we can press shift a add an input rgb for just a color connect this here and now we can actually use the eyedropper tool to select the general color of our sky and then we can increase this factor node very slowly to sort of lift the shadows of our background element to match it closer to the color of the sky so i think .33 is a little bit too much but maybe 0.25 works pretty well maybe even less maybe 0.18 and yeah i think that's matching our background here pretty well you can of course adjust it to your own liking finally we can add a final layer of color correction here maybe do a color balance node right before our viewer and composite connect this to our composite as well or if you want to do your color correction in another software that's totally fine as well but just to kind of finish off the shot we can add some basic color correction blend it into your shot pretty nicely and maybe also we can press shift a we can add a rgb curves node right before our color balance node give it a little boost of contrast and we have a pretty nice looking integrated cg set extension anyways guys that's it for this video i hope it was helpful as always feel free to leave a comment if you have any questions or suggestions in the comment section below let me know what kind of videos or tutorials you'd like to see next i might do an extension of this tutorial showing you how you can add some birds here in the foreground as you probably saw in the visual effects breakdown of this specific shot i didn't do that in this video because i thought it was getting a little bit long but um stay tuned for that as i will probably do that next i'll see you next time you

Channel: LightArchitect

Views: 4,977

Keywords: Blender 3d set extension tutorial, cgi set extensions in blender, live action vfx in blender 3d, how to build cities in blender, make cities in blender, blender 3d procedural building set extension, citybuilder3d add-on for blender, best add-ons for blender 2021, vfx in blender, visual effects in blender 3d, blender and after effects, blender vs houdini vs maya vs 3dsmax, how to learn visual effects, virtual cinematography training, ian hubert, andrew price, blendermarket

Id: RK7nCZH9cjk

Length: 34min 51sec (2091 seconds)

Published: Sat Jun 26 2021

Reddit Comments

[u/LightArchitectLabs]

Hey Everyone! This tutorial shows how you can create a city set extension. We cover how to setup your live action shot in Blender, how to do a basic tripod track on your footage, and how to composite your cg building into your shot. More tutorials coming soon!

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