Composite your Blender Render in After Effects #blender #blender3d #compositing #aftereffects #vfx

okay so now we are in After Effects uh as you remember we just leave after effects with these two settings so we have our pest doctor and we just keyed out everything which was green and masked out the area around the green screen and then we just animated the simple camera and then switch over to blender to make our background elements and now we can combine these two elements together so as you can see I already imported the PNG file it took about 10 minutes to render an Eevee so that's pretty fast and there's one big change if we now put this into our comp and you can see what's going on so first off it works so our camera in blender and our camera in After Effects match so if we now play this back you can see that everything looks fine until here but and there's the big butt I realized that I made a big mistake and that's the uh scaling issue so as you can see my pest doctor is uh not properly scaled bu so the environment and the height of our pest doctor is not ideal let's say because he looks a little bit too tiny so that's really my mistake sorry for that so I quickly adjusted a little bit of this composition let me show you what I did so here's the original file and that we've created until here and here's the modified version and so as you can see I just changed the background element a little bit because I I thought it would be cooler to not see anything except for the tombstone so I just placed a second tombstone in front of our cross even though it makes no sense but it it feels a little bit better and then our transition from one place to another is different next I just changed the tree which was I think it was here and put it over to this one I cropped a little bit of the plane because I don't need it that wide and I think I've added in this tree here in the back and furthermore more as some more elements here in the background even though this one is not even I think it was is not seen anyway oh no it's not uh so maybe we can put it like here or so yeah so I just changed a few settings and just changed the scale of the mousum as you can see uh because our pest doctor was not well integrated it feels a little bit too tiny so there was a little bit of a scaling issue but other than that I didn't change too much so everything else the light and uh the composition overall didn't change I think I get the background element here a little bit closer so I think in the original version the gate was oh no it's not that much maybe I just I just put all of this stuff a little bit closer uh and because I've changed the composition I was able to get rid of the mossy stones but other than that that's is more or less the result so I just give it a little bit more detail and a little bit more love so we came from this to this and if I now just put the new render into our composition we have more or less a similar result but now the scaling of the pest doctor feels much better hopefully you can see the difference it's it's a slight change but it's an important one I think and from this on we will now start the compositing and for that uh we have a few elements we have to import into our scene okay so uh let me show you the the main assets that I'd like to show you so these are a few lots and you can get most of these Lots out of the quarantine pack which is from Triune Films or Film Riot if you might know the channel here on YouTube and within this uh pack there are music and VFX assets sound effects and very importantly for our project the Lots alternatively you can buy the Cinematic Lots V4 pack uh which includes some of these slots as well so we will use the Joker asset especially uh but you can use of course many other of these very great cinematic lots and Implement them into your project to get a nice let's say first uh film look for your project so you can see it down here we have nice Transitions and uh the ls work really great with all sorts of cameras uh so check them out uh it's a pricey product but if you don't have the budget you can switch to the quaratine pack next element is grain which I downloaded for free from this page holy grain so you can download free film grain so you just have to sign up and then you get a file which contains this 35 mm film grain as so we will use that and I use another element from Triune film which is this one which is the electric pack and in this pack as you can see we got this Cloud element and this contains some background thunderstorm H so it's a really nice pack so you get a lot of more assets but these are the ones that I like to use in this case so these are the the the three main sources so uh if you haven't already got these one please download them buy them whatsoever or find other ways to um follow along with the tutorial so I will uh import these elements first and we'll put that into our comp and what I like to do first is change the composition settings so there are like two ways to do it one the right way and one the uh let's say cheesy way uh so let me show you the right way first so of course I'd like to to crop the image to a more you know filmic look and we have to do that in the composition settings so we would like to change this one to I don't know to 850 and we would create kind of like this crop and if we just display this one on YouTube or on your TV you would get these letter boxes um that look a little bit more interesting a little bit more cinematic uh anyway for the purpose of this tutorial I will leave it at full HD and will work a little bit cheesy with a letter box same approach but we just uh added in these letter boxes artificially uh so it's the good old video co-pilot way so to say I think Andrew Kramer did it this way so he just added in like a black solid and then he would just make a mask something like that and then it would have to change the mask from added to subtracted and he would have like his letter boxes so that that was the old way uh in all the video co-pilot tutorials and as a tribute we will do the same thing here but of course the right way is to trim down your composition settings to get um the right aspect ratio but in this case we'll do it this way and all of the sudden it looks a little bit better and very importantly uh we hide some of the mistakes so you can see it up here for example so we don't want to see like these elements I'm not pretty sure what that is maybe it was the the grass asset or something but I don't want to see this anyway and more importantly our pest doctor is a little bit cut off so we are hiding this uh with the letter boxes and just get away with that hopefully and just with these two settings we get a little bit more interaction okay what i' like to do next is to slightly adjust the colors uh once again I'm not a color Grader by any means so uh once again I do it a little bit the cheesy way this time so really search for for someone who's doing a better job than me uh but what I like to do is use an adjustment layer so you can go up here into layers new and then searching for adjustments layers I'm sorry for the German version I didn't change that but I can tell you what the English name is an adjustment layer is more or less an empty container where you can put up all sorts of effects and everything that is below this layer will be affected by this adjustment layer so I'd like to use some sort of color grading so let's go for lumry color and we can load this effect onto our adjustment layer and let's call this one color grading or color correction and then we can start doing some basic color correction um what I'd like to do is to reduce de contrast because the blender render and the camera settings I think I was shooting this in normal Rex 709 on my Panasonic camera and by reducing the contrast we're getting a Brighter Image uh because we are adding uh contrast within our lot so this way we can just ensure that our look is not too too contrasty and too dark and we can do that in the creative section so you can see here's the preset for lot and we can open up this drop- down menu and search for some lot and in this case I've prepared my Lots in the asset folder as mentioned before there's the Triune film lot uh we will take the uh Joker lot because it's a nice greenish tint and by doing that you can already see that both of our elements so the background render from blender and our foot footage is a little bit better connected this way so both have now a greenish tint and now it feels like they're a little bit more connected or feel like one layer because they share the same color information and so it's a Cheesy and a cheap trick but um it will do the job for us and next up uh let's focus on our sharpness so as you can see our pest doctor is still sharp but in the camera movement he should be sharp at this stage so let's integrate that and we you can do that by using a different effect which is the camera lens bra there is a very terrible name in Germany which is called camera so the German words for all of these effects are really terrible but anyway let's Implement that and we can put that directly onto our pest doctor layer and we can do this by drag and drop this one here or we can put it here and as you can see he gets immediately a little bit out of focus uh but it's not enough I think if you just compare the shallow depa field with our pest doctor we need to raise this up a little bit more so maybe something like 14 and that feels a little bit better and now we just have to animate our camera lens blur effect so starting here where the focus is totally on the tombstone and while the camera is rolling we can shift Focus to our pest doctor maybe around here and put it back to let's say one uh so we don't get a completely oversharpened or let's say 0. five something like that so it's a little bit a little bit unsharp so we get this digital look out of the uh footage a little bit because for me he's too sharp and if we just change the uh resolution to full he's still pretty sharp so if I do that it's it's a little bit it's a little bit better so I think 0.5 is is a good value and now we have to bring down the resolution once again because otherwise we don't get any uh feedback from after effects for pre-rendering and yeah we just changed like two settings getting letter boxes getting a little bit of color and Chang the focus and really now both of these footages look much better at least in my opinion and we can tweak this further more so what I'd like to do is to change the color of the pest doctor a little bit so as you can see especially the lamp is to oversaturated because it it feels like a night scene and at night colors don't pop up that way so maybe we can go into a different effect uh which is a tint and we can put that onto our pest doctor and this is now of course black and white which is too much but maybe we can bring this down to like 30% so let's see the before and after before after maybe we can even crank this up to 35 oh something like that so he's he's a little bit less colorful which seems to be better for this nsh scene okay so that looks good as a next step we can Implement a little bit of Darkness because he's for my taste he's a little bit too bright even though the the light matches a little bit better now but I think we can uh do another lumry effect on him so let's search for lry once again and put the effect on our pest doctor once again and then we can uh maybe get a little bit of highlights out of his body so maybe like we can see it here okay so maybe we we we darken it up a little bit just a little bit don't overdo it and maybe we can add in some Shadows just a little bit okay so before and after and maybe that helps to integrate our pest even more into our background random and I think this looks way better okay so and now comes a very important ingredient and we will use another effect which is not there by default in inside of after effects or I I mean it's there but it's a little bit harder to set up this way and the cool guys from production crate just developed a free effect which is called light wrap and what it will do is pretty good to see here so here's our green screen footage and what the light WP does is it tries to matches the background color or it tries to match the color of the background and immediately uh adjust this with the green screen footage so as you can see this is a very nice effect and it will help to get better result and better integration of our green screen footage uh so you can see it here we can do of course all kinds of settings with this effect so download it's free I think you have to sign up once again but I think that shouldn't be that much of a problem and if we now go back into After Effects we can see it here so we have to click on our element and we can go up to effects and as you can see I already installed this one it's called production crate lights wrap and we can click that and nothing happens because we need to do one more trick we have to pre-compose our background element so you can go up into layer and then precompose or you can use the shortcut control shift C and we call this the background render and we will leave all the attributes in the new comp and uh just ensure that the composition is as long as our main composition and we hit okay and all that after effect is doing is creating a background element if we now open this up you can see this is our background layer it's just stored into another composition and then we can do something to this so and now we have have to say maybe we can just close all of these effects uh and now we just have to Define what our background element is and if we take this at this stage and then watch our pest doctor if we now set up our background render you see uh it starts to glow up I mean this is really extreme but you get the idea what the effect will do to us so now this feels much better integrated and a little bit like the key light effect we can now change the vi from final composite to rap Zolo and if we Zolo that you can see what the effect is trying to mimic so I try to matches the color of the background with our green screen uh footage which is nice um but we have to do a little bit adjustment to this so first off let's click on the pre-old background this way The Edge gets a little bit softer like so and we can bring up the blur a little bit and we can change the the WID whift so that uh there's a nice Feathering going on in the mask and if we now click on the final composite and unsolo that we got kind of like this effect so it feels a little bit softer and you just have to fine tune how soft you want your footage to be maybe we can set this one to add sometimes that helps we can play around with the exposure to make it even brighter or maybe less depending on what you want and what we can also do is we can go back into key light for example and we could uh just adjust the the softness a little bit and the the shink so if we uh raise this all up you can see that our pest doctor becomes pretty etchy and if we shrink this to a value like minus 1.5 we get a better transition and just cut off a little bit of the nasty edges so this way we can furthermore control the the hardness of our uh green screen edges and I think this looks a little bit better integrated and gives a more realistic result just with a few clicks so I like the the simple approach to this so even if you have never touched any compositing uh you just have to you know remember like three or four different settings and you get instantly better results within your green screen and background elements and what I then like to do is to add in the film stock grain and we can now mimic more or less this this film lock with a 35 mm grain so let's do that oh and by the way ensure that your letter box is always on top because otherwise it will be affected by the color grade and later on by the pro processing effects uh so ensure that our letter box is uh at the very front and as you can see our grain is looking something like that and there are some nice nice artifacts as you can see here so I I really like this one and it's free so uh really give it a go holy grain.com and you can download this for free and we will have to change the blending type from normal to I think it was overlay yeah something like that and now you can see that this is starting to feel even more integrated maybe it's a little bit hard so maybe we can bring down the transparency to I don't know 50% or something and once again if I just crank up the resolution so you can see it a little bit better and we play around with the transparency you get a very noisy very grainy image which I like personally uh but you can soften this by just bringing down the transparency to something more likely to maybe like 41 and you still got the grain going on on both of these footages so this is nice so this way we uh integrate our footage so the green screen footage and the background element from blender even more and now we got a very nice and subtle effect going on once again I have to bring down the resolution because the feedback is constantly getting worse because we're adding in more effects and more footage so at this stage your PC really have to uh do a lot of work okay and of course you can see that the layer is a little bit too short but there's a quick and dirty trick uh so you can right click on the grain footage and then interpretate the footage and we can go for the loop section and I think two is fine and this way our footage gets longer or gets repeated inside of the composition you can see that our footage becomes longer so we can now expand this uh to the end of our clip and this way it will work okay so as you can see our footage already looks pretty good and now we can just do some sort of little bit of spicing up but we're close to finish line so what I did in the original version I was adding in some background thunderstorms to this so we can go into into our background element and we can import our Cloud layers as you remember it's from the Triune film pack and as you can see this is what's going on so obviously we have to make this one smaller and we have to bring it into the background and now we can search for an effect because it's a little bit too heavy for my taste so maybe we can tint this and maybe bring it up to 35% as we did with our pest doctor and now we can set this one to add and this way as you can see our layer is becoming better integrated into our clouds maybe we can just cut it a little bit so we can distribute this one over the footage here and maybe we can put this one right up here I mean it would be cooler if we would have rendered like the background and then our other elements separately this way would be easier but for the sake of this tutorial I think it's fine but we have we have to care a little bit more about the integration so you can see we have to bring this down a little bit to like maybe 12 and ensure that uh there is no interaction happening with the elements uh something like that okay and maybe one more so we can for example do that and maybe we'll have it here and maybe we can just like rotate this like so so that it looks a little bit different so once again it's a pretty cheesy effect but if we now go back into the original comp by the way we can you can do that here with the tap key so if we go into tap then we can go back into our uh previous render and if we now take a look we got this result H maybe we can put the last one here again and furthermore what is important as you can see our footage is too shop right so we have to make sure that our camera lens blur effect is already on this footage so we can raise this up to maybe like 50 so it better matches with our background oh maybe even even more now let's go with 67 and we can copy and paste the effect on the other two layers and if we now go back into our previous random we can hopefully see a better result yeah so that starts to look really really nice okay I like that and now we can do some just you know smaller effects that may or may not look interesting to your footage I don't know so we can Implement another adjustment layer so once again go up to layer new and then adjustment layer and we can call this I don't know post processing and we can mask that so we can use our mask tools up here and if we hold down the mouse we can change the mask type from rectangle to an ellipse so let's do that and we can draw our mask something like this maybe and then we can with the G key adjust our points so if we go into this we can adjust this a little bit so we want some some soft atches and we can now make our Corners here a little bit unsharp and we can darken that a little bit so let's do that once again using the camera lens blur effect and now of course our mask is the wrong way so we have to invert the mask so set it from ads to subtract and this way we got a sharp Center and a little bit of unsharpness in the corners we can maybe bring up the effect to something like 20 and then we can for example feather the mask a little bit and create a nice transition just to get kind of like this this vintage look that you might see in films when they use old vintage lenses from the70s or something uh they always have some sort of imperfections and that is nice uh we can of course add in some chromatic operations on the same effect and uh maybe change this one to stereo and as you can see now if I just make this one a little bit like so and this one a little bit like so we get a little bit of unper so really play around with with the effect and we get some nice maybe this is a little bit too crazy maybe we can bring this down to like 10 so the sharpness is not that intense but we just create some sort of imperfections and this is what compositing is all about just to make the footage match and uh feel a little bit more organic at least this is my definition of uh compositing at this stage when you're doing green screen compositing you know create the illusion that this was really filmed with old vintage lenses be a little bit aware of the effect so as you can see we got some problems here so maybe we have to change that to stereo and yeah we get some sort of of imperfections okay and we could for example do once again the old Andrew Kramer effect and we could search for for Curves put this onto our postprocessing and for example just darken this a little bit to get some sort of nting just very slightly but this way uh if we just enable that before and after it's a nice little effect but really this is this is really like uh we're already doing the job and this is really fine-tuning it on a very peaky level and some of you just don't like these effects but I I tend to like this one and yeah I think we are like close to the Finish Line uh there's uh so much more we can do and one what I did for example I mean if you have the budget you can of course do some flaring so for example we could create a new solid we call this uh Optical FL and once again you can use uh video co-pilot pricey add-on for like I think 100 bucks but it's totally worth it and we can go up into options for example and search for a nice flare maybe we go up with this anamorphic one and maybe we can kill some of the very prominent effects and then we can put this one to the Renard mode on transparent and put this into place and of course this one needs to be blurred out as well maybe like 12 I don't know and then bring down the brightness and bring down the color by the way because uh this one should be more of a whitish color and we have to animate our flares so like we would do with the point light in blender we would have to animate our flare but yeah you get the idea we can just do some sort of uh cheap tricks on on that and we can do some some flaring and it will may or may not look cool uh it's up to you it's a little bit objective uh whether you like that or not I tend to not like this one so let's kill this and let me show you what I did okay so what I did was creating another layer with only the point light and I changed the point light from a point light to being an area light and this way I get kind of like this nice beam and what I did was I was just you know turning off all the layers except for our beam light and render only like this version out with a PNG sequence with Alpha channel of course so I could add this one to our layer and then put this as an overlay over our green screen footage so let me show you how this looks uh so we can import this lamp overlay and import this as a PNG sequence pretty important and then put this one over our pest doctor and set this one to add and we can just bring down the opacity to maybe like 50 or something and we can create a nice Lantern effect I mean this is not properly animated in blender I guess so we would have to change that but you get the idea right so we could for example bring this down even further so it's not too bright and maybe change that a little bit so that our lamp feels a little bit better integrated and this way we created like this nice hazy effect on our Lantern and I think for me that feels a little bit better so I I'd like to to keep it that way and it it feels better than the than the optical flare at least this is my my feeling for this and yeah I think if we now put this all together so once again let's unhide everything so let's see where we came from so here's our original file just the render and our pest doctor and it looked okay I would say then we've added in some letter boxes then we've added in some color grading then we've added in some grain a little bit softly and and then we've added in some post pressing effect so that it feels a little bit more interesting and finally we add in our overlay yeah we've created a simple shot a static shot which we turned into a moving camera which is nice and we have a shift uh from the focus from this point to this point and for me this is kind of like a nice uh like beginner friendly tutorial into the world of compositing and green screen and blender and all that kind of stuff I mean of course we could do better and we could just you know have some moving trees and better vegetation with some better packs I mean I've used the free 2D image pack but it still looks okay and we could do better assets and we could you know do a lot of more stuff to this we could use some sort of wind machine for our pest doctor so that it interacts Better With the Wind all that kind of stuff but like for a first impression this is a nice illusion I think and at least this was the feedback out of the workshops a lot of people who never had any touch to uh 3D or to Green Screen had a lot of fun creating this and really just get a feeling for what is possible and it's it's not that complicated I think so this is kind of like the conclusion of this of this workflow and so we can create something very cool from like an effect that was like green screen is and turn it into uh something that is a little bit more interesting and feels a little bit more alive thank you for watching I hope that was interesting for you and you grab some information that you didn't have before and yeah see you in the next tutorial bye

Channel: Thies Grünewald

Views: 2,889

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Id: q0O3smNW-hs

Length: 31min 7sec (1867 seconds)

Published: Tue Jan 30 2024