Create Viral Product Ads for Free Using VFX in Blender

okay so you want to make some product placement visual effects but you don't know where to start well then this video is for you as I work on this shot and show you my entire workflow as always if you want to work along with us you can download everything I use down below okay so inside the blender of course the first thing we have to do is camera track so I'm going to go up to plus bfx and motion tracking and go ahead and open up our footage I went ahead and converted my footage into a image sequence just so it's a little bit easier to work with so I'm going to go ahead and hit a to select all my frames and then open the clip and then we need to go ahead and change the color space to be the correct color space so up in render we're going to go down to color manag and set it from filmic to standard then we can go ahead and in the track settings we're going to go ahead and set the scene frames and prefetch our footage now I'm going to assume that you know a little bit about blender so I'm not going to go over everything in detail so let's go ahead and Camera track the scene I'm going to go ahead and set the match to previous frame normalize our footage and go ahead and set our correlation to a09 just to make sure that blender uh tracks the correct markers accurately throughout our scene and then what we can go and do is detect some features at the first frame of my footage down here and then you'll see it selected all these I want to go ahead and select some more so I'm going to set my threshold to a 01 and then distance to an 80 uh just so we have some more markers throughout our scene and then contrl T is to track those forward now at the very end of our footage we can go ahead and detect some more features and I want to go ahead and control shift T and those will actually track backwards and then let's do one final set at frame 60 at the middle of our footage so I'm going to go ahead and uh detect features contrl T track forward go back to 60 control shift T and track backwards and now we have basically three sets of markers at the beginning middle and end of our footage now is where we kind of clean up manually some of the bad trackers if I bring this window down here you'll notice that we have the graph of all of our markers basically we just need to select any outliers that we see so like spikes like this these are actually markers that aren't tracking as well and so we just want to kind of manually select those and delete those as much as we can so we can get a better solve okay so that looks pretty clean for my scene let's go and bring these down here I'm going to go ahead and do a little visual pass because we do have a lot of moving cars in this shot so I want to try to get all out all that movement as possible so I'll select uh some of these that it's attaching to the cars delete some of those and then I noticed that there are some markers here that are kind of tracking a little bit weird because of the cars and then just kind of scrub throughout here we have one down here on this car and uh the rest I think blender can get out on its own and so let's go ahead and get a solve error so I'm going to come up to the solve tab we're going to go ahead and set our a key frame to B uh b 40 and then 100 for the B that's basically just the range that has the most amount of camera movement that we're going to be using to actually get a solve error so let's go ahead and uh refine everything here and then uh solve our cam motion okay so we got this as our solve error we want that below a.3 if possible so let's go ahead and clean up some of the tracks and I'm just going to push that reprojection error all the way up into we're just selecting some of the top error tracks then we can go ahead and delete those tracks and resolve the camer motion you can see that's already gotten it down to 0.5 I'm just going to repeat those steps a couple more times again I want to try to get below a.3 uh trying to stick uh below a02 if I can so clean tracks again reprojection error all the way up to way of selecting some of the flu delete and then solve again okay so I cleaned it up a couple more times and was able to get a 0.1 solve error which is actually really good so we are ready to go ahead and set up our camera scene and background so I'm going to click those buttons let's bring this window down here right click join the areas just so we can see this a little bit nicer now we need to go ahead and Define the floor plane uh I know I want my kind of product to be in this kind of open area right here uh however when we actually set up a floor plane blender needs three points on the floor and you can see that we're having some elevation changes right here and so I want to try to get the floor as accurate as possible so what I'm actually going to do is kind of manually add some three points uh to my scene so around frame 90 I'm going to go ahead and control and click kind of this white dot down here since that's kind of on my grassy area and also this kind of white uh dot over here if I just shift select those two and then contrl T track those forward now what we can do is uh we want to go ahead and solve the C motion again just to get our solver and you can see it's not increase our solve eror that's very important you don't want it to increase our solve eror at all and then now if we select this point this point and then this point is also on our ground plane we can now set that to be our floor and since everything is solved uh it's giving us a nice kind of floor plane there let's go ahead and set up the rotation of our scene so I'm going to press this let's set the origin uh to be this marker and then this marker we can set to be the x-axis like that and so now our scene is uh basically rotated to how we want it uh what I also want to do is go ahead and set these scale so I believe when testing uh these two points are about like 100t away and so 100t converted to meters is about 30 so I'm going to go ahead and uh set the distance down to 30 right there and uh if you come up here you might notice that we don't uh see our uh block anymore but it is there I'll show you how to get that back uh now let's go into the layout scene and go to camera view again we're having that issue where we don't see it and that's actually because of the camera clipping so what we need to do is Select our camera up here let's go into the data properties down to uh the clip start and end then we just need to increase the end of our clipping I don't know why blender sets it so low as default is uh just kind of an annoying thing and so now we have our scene fully set up we can go ahead and delete some of the stuff that blender automatically sets up so the background and foreground collection we don't need and also the view layer we don't need the background of that and since we deleted all those uh nodes we need to go ahead and delete these four nodes in the composing section and plug our movie clip into the image of our Alpha over again this is just kind of stuff blender automatically sets up when we set up a tracking scene but I just like to work from scratch and you know add the stuff as we need it and so now uh what we can do is I want to come out to the layout tab and very very important since we're going to kind of be modeling out the scene a little bit is to go into the camera properties and we want to come down to background images this basically set up uh the footage to be our background image however it does kind of undistort it uh in a way that to remove any lens Distortion or anything we actually want to uncheck this and you can see if I kind of uh check and uncheck that it's basically zooming out the edges and you know trying to correct for our lens correction but again we don't want to see that in our final thing okay so now that we have the scene kind of set up and exactly how we want it we want to go ahead and add our product in now down below you can download a blend file of just a very simple kind of model I made uh to kind of showcase this workflow of of course this is where you would actually be placing your own product in there or you know a client or whatever you're doing that's where uh you want to place your actual object in here and so uh in order to do this and follow along with me you can go ahead and come up to file then you want to go to a pend and you just want to locate that blender file so here is this blender file I'm just going to go ahead and double click inside of here go into the object section and then I believe it's called Uh makeup baked uh yours will look a little bit different than mine but you just want to find that model and let's go ahead and P pin that in the scene and now we have the actual bottle and of course if it's sized differently for you you just want to go ahead and S scale that up I do believe uh we do have to make sure that it is on the floor plane and so you you can see the bottle kind of rests on the floor plane here I'm just going to move it up a little bit so gz there and now it's exactly on the floor plane because remember when we camera track the scene uh since we set up the uh floor we want to make sure that whatever we want to stick on our actual grass area is exactly on the floor play and so now that we have that let's go ahead and I want to go ahead and start organizing some things so I'm going to add a new collection up here just going to name this uh the makeup collection like that and then let's go ahead and place our uh baked object into there and so now that we have that let's go ahead and uh let's delete the cube and also the light that it came with it automatically set up a ground Shadow cure object you can come into object properties and inside of uh visibility we actually can't see anything and that's because we haven't set up our render settings so we need to go up to render properties go down to Cycles GPU compute if you have one let's denoise the viewport but not the final render let's change our final render to a 128 we're going to be changing that in a little bit in our viewport to a64 and these are just some settings that I like to set uh as I work just because it's kind of a fast way to render and kind of get a viewable thing and of course at the very end we can up those and get a super high quality render so now what I want to do is let's go ahead and place some of the product around so I'm going to select this uh let's do altd because we want to create an instance it basically uh just copies all of the settings from that model and if we apply it to any of the other models so let's you know zoo that all of our models are now going to be affected like that and so that just saves on some render time and also some resources that blender uses so let's uh s scale this up uh I did set the origin to be the bottom but you always just kind of want to make sure that uh whatever you do when you scale it's always kind of resting on the exact bottom of our plane here and so now we have kind of uh this look of course you can lay it out however you want uh and then I want to go ahead and altd again move that over here let's rotate on the X on the z90 de and then we can just come to the side view and just snap that up until it's resting kind of on our ground plane again like that let's actually scale this down a little bit uh so something maybe like that and then now we can put it on the ground and kind of position that exactly where we want it to be I'm going to hide this ground plane by hitting H and then let's just rotate that and kind of place that right there so of course you can play around with uh the rotation and scaling of your objects again the most important thing is that we just have everything kind of on this FL plane and so now that we have all that set up we can go ahead and get into kind of the lighting and the rendering so if I come to the render view again that's just holding Z I don't see my footage anymore so let's go up to the render properties down to a film and then change it to transparent and uh as I was showing you before it's automatically set up our ground object to be a shadow catcher so if I all H unhide that and then if I come to the object properties we can come down to visibility and now we have all these settings uh since we're in Cycles now and it's automatically set this kind of ground plane to be a shadow catcher mask and so that's exactly what we want it to be however it's a very white kind of uh very white reflective material so what we need to do is go ahead and actually import some lighting in our scene and then we need to actually change the material of this object to match uh closer to the actual footage of our clip so let's go Ahad and do that so I'm going to be using a h it's basically an image with baked in lighting so you want to go ahead and download that let's change the color to environment texture and I'm going to open up that image okay so here is the HRI let's click that open the image and now you can see that we have uh this in our scene you'll notice that it's all very blown now and that's actually because we're on the wrong uh color space for this specific tutorial um again we did the standard view transform before because we were actually working with footage but since we only want to render out the CG uh during this part we want to come up to the render properties go all the way down to color management and now we want to set this from standard to agx uh this is just to you know maintain the right color space for all of for accuracy and so let's go ahead and uh make this a new material so I'm going to come over here uh go to Shader editor let's into hide that and add a new material I'm just going to name this the ground material and the principle to thef is what's giving us our shadows and so if I take that off uh you'll see that everything is black and unshaded and so what we actually need to do is uh keep the principle bsdf but apply our actual image sequence onto it and so what we can to do is H shift a add a image node image texture node and then we can go ahead and open up that you want to select your image sequence again open the image and uh very important you do want to make sure that we have Auto Refresh on because then it'll actually update to the current frame instead of just being kind of a still image so now with that we can plug the color into the base color and uh you can see that it's changed a little bit here but again it's not showing us our actual footage that's actually because it's using the UV of our uh plane object to actually project the image onto it and since we don't really have a UV setup it's actually showing nothing right now so what we need to to do is we need to use a add-on that comes default with blender so edit preferences add-ons and then you just want to type in node and make sure the node Wrangler add-on is installed and checked and then you can come down here and save the preferences let's exit out of here and so with that node installed we can go ahead and contrl T and that'll add a texture coordinate and mapping node uh the only thing that we have to know here is we want to set it from instead of our UV being projected we want it to be a window uh vector and so now whatever we're kind of viewing it through uh is actually going to project our texture onto that object and so since we're going to be viewing it from the camera's point of view it's basically just projecting that uh footage onto our actual um plane down here and so what I want to do is first of all you'll notice that we don't have it matching at all let's actually come up here I want to sel uh outline selected off and then if I come up to the camera go to background images again and change the opacity all the way up uh we can see that there's kind of a seam here and so we want to try to eliminate that seam as much as possible so if I select that uh ground object again in we can come over here and with a principle dsdf it's a little changed uh from you know the previous versions of blender so you do want to make sure that you're working in blender 4.0 or up let's change the roughness all the way up and then the uh specular we can change all the way down so that you know gets R rid of some of the reflection and then we also need to go ahead and correct the gamma because you'll notice that there is still like a seam here so I'm just going to zoom in let's uh bring this over here shift a add a gamma node and if we place that into here we can just increase that a little bit until they match uh much more closely and so again we don't have to match it super closely because we are just going to be using this as a shadow Catcher And so we're just doing this again because of the reflections we're actually going to see that material on the reflections of our kind of makeup bottles here and so we want to make sure the reflections match as closely as possible to that I'm actually going to select this uh let's turn the outline selected back on and then select that and S to scale that outwards you will notice that we're having a little bit of like clipping issues here and so what I like to do is come out instead of repeat I'm going to set it to mirror just so it's a nicer kind of fall off like that uh so now that we have all that set up we'll notice that the uh kind of sun direction is going the wrong direction if I kind of zoom in to the trees down here you'll notice that it's basically going down into the left and so we want to try to uh mimic that as closely as possible let's uh come up to object to world and you can see our H we uh uploaded we want to go ahead and again contrl T to add a texture coordinate and mapping node and then with the Z rotation we basically just want to rotate it until it's basically matching the basic Direction uh you can get real Advance into it and you know play around with it for your scene but that looks pretty good uh matching the direction and what's nice is uh since we corre correctly set up the correct scale on our scene in motion tracking it's actually giving us very accurate kind of shadow um fallof here you'll notice that it's very fuzzy the farther away and then it's very kind of you know sharp uh close by and so that's actually how Shadows would react in the real world it's going to be hard to kind of know notice over here but with bigger buildings and stuff like that uh the shadow over here is a little bit more fuzzy than if it was closer to the actual base of the object and so uh now that we have all that set up we are ready to go ahead and uh set this ground object to be a shadow catcher again so we're going to set that let's go ahead and make it its own collection for use in compositing later so I'm going to name this Shadow and put the ground object into our shadow collection now we basically have our makeup that we can turn on and off and we also have our shadow that we can turn on and off that's really nice of course if I zoom in here the HRI pick is also going to give us Reflections in our scene and so this is where we have to kind of model out a little bit of the scene and add some reflections of the actual uh City back into our scene and so that is super easy let's go ahead and I'm going to add a new kind of mesh plane we want to make sure it's on in its own collection so I'm right click and then add a new Reflections collection place the plane inside of there and then with that let's come out to solid view I want to RZ or sorry X 90° and then we can just scale that up basically what I want to do is I want to surround uh this uh makeup thing with a bunch of kind of fake Reflections that we're going to do and you could get real involved into it and actually like model out each of the buildings uh you know but since we're not going to be anywhere close to any of the buildings where it actually matter I'm just going to go ahead and place a some fake planes so let's G kind of Z shift Z move that over there then I'm going to rotate so it's facing more towards the camera I do want to make sure it kind of takes up the entire outline of our product here so I'm going to S scale that up here gz move that up and then what I also want to do is go in s um sorry X to just scale that outwards and then we can scale it up basically I'm just trying to give it a large surface area that it's actually going to use for Reflections again we do need to project that texture onto it now because uh if I come out of here it's this huge uh kind of white thing and that's not giving us accurate Reflections at all so let's go ahead and make a new material again we're going to kind of follow the same setup as we did before but a little bit of changes uh what I do want to do is I want to come to frame one because whatever I actually bake the texture on I want it to be the first frame of my footage and so uh let's go to object and then I'm going to add a new texture let going uh just going to name this footage baked like that and then let's uh go to our principal BF we actually don't need this since uh we don't need to have any lighting or Shadows baked into this so I'm going to delete the principal BSF and let's add another image texture and so since I want this to be baked I'm not going to use the entire image sequence I'm just going to use one frame from the image sequence and so since I'm on frame one we're going to be using the first frame so let's open that up okay so again frame one select that open the image and now we have that let's plug color into the surface and now we basically have uh the you know plane being projected uh with our footage on just frame one and so now that we have that we need to of course you know try to match it as closely as possible it doesn't really matter too much for this scene but let's just try to match it you know as close as we can uh what we have to do is we have to actually go ahead and bake it in because if I control T and make it a window wherever we're viewing it from it'll actually update to that and since we're actually camera tracking through our video it's not going to give us a good reflection it actually might be some artifacts left on our camera so what we have to do is we have to again come to frame one and we're going to go and bake the texture onto our plane so uh let's come over here to the modifiers tab I'm going to add a subdivision surface modifier and this is just to get more geometry onto our actual plane because right now we only have four vertices and the more vertices we have the more accurate uh projecting textures are going to be and so what we need to do is just go ahead and uh make it simple and change those to six then I'm just going to go ahead and hit apply now if we hit tab we have a lot more data here so now that we have that on frame one again let's hit uh go to tab edit mode a and then we need to hit U to basically UV unwrap everything and then I'm going to hit project from View and what that will do is it'll actually uh project it from view so you'll notice that nothing has really changed however if now we come out of the camera view you'll notice uh nothing has really changed again uh because we actually have it set to window over here so we need to change it back to UV and now that we have that we basically have our texture projected exactly how it would be with the window view uh but now we can actually move around the scene and it won't change and so now that we have that set up let's go ahead and come over here I do want to go ahead and set the repeat to mirror again just so we have better fall off and now we have uh behind our makeup which is looking good we also want it on the sides of our makeup and basically just surrounding all of the areas so what I'm going to do is let's Shifty duplicate that rotate it around there and this one I'll place like right there what we do have to do every single time that we do this is go ahead and update the uh projecting from view so again that's super easy tab a u projector from view so now it's automatically updated over there and so uh finally we just want to go ahead and we want to get uh this side so I'm just going to uh alt D this time just duplicate that and place uh that over here uh just so we can see kind of the reflections over here uh away from the camera and then finally we need to do this side as well so what I'm going to do is again shift d duplicate that then place it right there something uh right around that area and then of course Au project from View and so now that we have all of this set up and we're having very accurate uh Reflections in our scene uh what we need to do is go ahead and set up our kind of render passes so we can go ahead and get into compositing so if I come out to the compositing tab now what we basically have is our movie clip being combined with whatever we render out of our uh lay layout View and so let's go ahe and do that let's come to solid View and render an image okay so here's our image we have a ton wrong we can see that we have uh our makeup you know and it's casting Shadow which is good but we also have all the reflection uh kind of planes that we made in our scene and they're also casting shadow on the shadow catcher and everything is just kind of messed up so let's go through the process of actually rendering out multiple passes inside blender so we can composite them separately and get a good result and so let's come out of here what I want to do is I want to go ahead and set up a new uh view layer now view layers are basically ways to break up into to multi uh you know pass compositing so what we want to do is we want basically one layer where it's just our makeup and then we want another layer where it's basically just the shadow of our scene okay so first thing I want to do is just get the M makeup isolated in itself so let's come to the forground and I want to change this to just be makeup for now and then what we need to do is tell blender the different passes that we want for our different collections so if I come up here we'll have uh this kind of indirect only pass that we can enable and what that will basic Bally do is if we select the shadow to be indirect only it'll basically mean that whatever is in the shadow collection which should just be our ground object is basically only going to do indirect stuff and so as you can see here we have a lot of ambient occlusion and also you can see some of the reflection of our actual ground and so that is all the indirect stuff of our actual scene uh but we're not seeing that at all and so that's exactly what we want we also want to do that for the reflections as well so I'm going to set that to be indirect only as well and now we have uh basically uh this scene with out our uh you know Reflections pass or our ground pass and so that will basically be just the makeup like I named my view layer up here let's go ahead and make a new view layer so click that this one I just want to be our shadow view layer and so of course we just want to basically do the same thing that we just did but now the opposite for this view layer we don't need the reflections collection so I'm just going to turn that off and then for the makeup we want to do the exact same thing and set it to be indirect only so again indirect only here and now we basically just have the shadow into our SE now let's go ahead and go up to compositing and we need to go ahead Shifty duplicate the render layers node and select our shadow layer to be uh viewable and now that we have all that set up let's go and render a new image okay so once that's rendered out you can see we haven't composited everything yet so it might be a little uh iffy here but let's exit out of here and now if we shift control and click we can view the different passes so we have this makeup pass right here is just kind of the makeup object with a transparent background uh and then our our uh Shadow pass is just the Shadow with a trans parent background so now with all that set up we want to go ahead and render them out to composite in a separate program such as nuke After Effects anything like that I'm going to be sticking inside a blender for this tutorial just to make it a little bit easier for you guys to follow along but of course I would normally take this inside of nuke or again after effects or D Vinci fusion and you know really get into the compositing to make it as accurate as possible so let's go ahead and do that let's uh add shift a add a file output node this is basically a another version of the composite node that basically lets you set up multiple passes to render at the same time uh to go into the settings let's come over here to node and then properties and let's go ahead and set a base path for this to render into okay so once you made it it own for let's hit accept and then down here is where we actually have the different inputs I'm going to be saving it as a PNG sequence for both but of course you can also do open uh exr multi-layer but that's a little bit different process in blender so for me I'm just going to stick with PNG we want to make sure that we have rgba uh selected for the alpha Channel and then compression you turn it to whatever uh kind of ratio you want there of course let's add a new input since we have two I'm going to put the first one into the first socket and the second one into the second socket so let's go and name them I'm going to double click inside of there and let's just name it that I like adding a underscore at the very end of mine to kind of differentiate the frame number from the actual um you know name of my file and so let's click the other one double click there and add shadowcore and so whatever we uh render out the image it's actually going to take this name and then uh replace it with the frame number at the very end since we're rendering it as a sequence so now that we have all that set up let's go ahead and again view our different renders we'll notice that my makeup is super super noisy and so this is where we go in and actually set up our render settings now to get some high quality renders and so I'm going to come out to layout section let's go into the shadow view layer or sorry the makeup view layer just to view our main one that we want to den noise and so what I'm going to do is I'm going to go ahead and add a den noise node and denoise it myself and compositing before we actually render everything so in order to do that let's go to the view layer add Den noising data here and if we come up to compositing again you'll see that our node has changed and it's added all this other information for D noising let's shift a add a denoise node plug the image into the image the normal into the normal and then the albo into the albo and make sure that the noise is feeding into our makeup kind of PNG sequence right there and so now with all that set up let's go ahead and save the project and render an image okay so once your render has finished again this is just whatever you plug into the composite node and so since we're not using the composite node we can honestly just unplug that and let's go ahead and just delete the move clip and Alpha over node since that's going to take some resources to actually calculate in the compositing step and so now we have uh both of you is going to hear uh you do want want to still have your composite node for some reason there's a glitch and if you don't have that in it's actually not going to work with the file output node just kind of a weird thing there that I found so you do want to make sure you just have it kind of floating up here in space again since we don't have any output properties it's just going to be sending everything into the temporary file location uh and so the main thing that we're going to be doing in rendering is this base path right here and so now since we rendered out an image it actually uploaded some of the passes inside of this folder so let's go check them out okay so here is myh passes you can see that we have a makeup pass and then also a shadow pass and so for this process we're basically going to have two different image sequences inside the same folder and then we can organize them a little bit later uh but let's go ahead and with everything set up you can of course of course change your sample count if you want um I recommend like a 256 or above uh is usually pretty good if you are denoising uh we're not going to be denoising the shadow pass since uh I didn't really have any problems with that but with everything set up and you know uh do a couple test renders of course on your end we can come up here and render the final animation okay so once everything has rendered out let's go ahead and go to file new general we just want to go ahead and uh do our compositing in its own project uh so we're not messing around with the compositing of the separate project so now what we can do is go up to the compositing tab let's hit use nodes and we don't need this render layers node since we're not going to be rendering any CGI let's go and add a image note then we need to go ahead and upload our uh footage first again just at image sequence let's open that up then I'm going to go uh shift e do that down and let's locate our uh separate passes of course this is where you can organize them and put them in their own folder I'm just going to leave them in kind of the base folder and do it myself so I'm going to select the first kind of makeup PNG one and then scroll all the way down to I believe 121 is my last frame so shift click that and then open the image then we can Shifty duplicate that down and we just want to select the shadow pass now so scroll all the way down select the first frame of our shadow pass then all the way to the bottom shift click and open the image there and now we have all of our passes in our scene okay so finally let's get into the compositing of everything let's shift a add a alpha over node that's basically how we composite uh things that have Alpha over top of each other if you think of it as kind of a layer system system that's how we would do it with nodes so my image for my makeup uh pass I want on the bottom of my Alpha over and then my makeup background I want on top of my uh Alpha over so if I control shift and click we can add a view node and we can see we have a lot of stuff that's kind of wrong right now first of all uh it might be hard to see on YouTube but we actually have a white border going around our makeup and that's actually because our Alpha isn't applied yet uh you can see that we have this Alpha for our actual Channel and what you can do is uh if you actually want to go ahead and just hit convert pre multiply on here you can do that uh or we can go ahead and shift a and set Alpha we just want to plug the image inside of there and then the alpha inside of there and basically that will apply the alpha Channel and so uh then you don't need to convert the pre multiply and that's useful if you do want to add like uh let's say we want to add a glare node that actually needs it to be pre multiplied before you actually uh hit the glare node and set it to flaw glow and then just change down the threshold uh this is a very popular node and so that's just kind of the workflow that you would do to pre-multiply the alpha so next thing we want to do is go ahead and of course set it in the correct color space the whole reason we're doing this is to actually go ahead and work in the uh correct color space for the footage and also the CG so uh render properties color management and finally we can set it back to standard it's a very convoluted process but uh trust me when you kind of work with it a little bit uh you'll understand the reasons why the final thing we need to do is add the shadow back into our scene so let's go ahead and shift a I want to add a color balance node that's kind of the um know that I like to color correct the most in so let's go ahead and add our Alpha into the factor just so we are affecting the uh kind of alpha of our shadow I like to go and set it to off uh offset power slope instead of the normal one then let's play around with some of these values I just want to try to match the shadow into our scene as much as I can so let's uh increase the power a little bit and then decrease the slope uh so something like that you just want to try to replicate it to the Shadows of the actual scene as much as possible what I will notice of the actual shadows in the scene a they uh they are a little tinted blue you can see ours are very black right now and so what we want to do I like bringing this slope and um you know tinting it blue a little bit you can see that it's really uh adding some of the blue highlights in it more and I just found that it matches more closely to the scene again I'm mostly a nuke compositor and so this is where I would take it inside nuke and actually get really involved into matching it uh exactly to the scene but this is the basic setup inside a blender once you're happy with a result and kind of you know uh match some of the settings there what we can do is finally plug the alpha over into the composite and we are actually ready to render out the final animation uh now I'm going to be rendering as a movie clip this time instead of a image sequence of course uh depending on what you're going to be doing with this footage after render out on whatever settings that you want uh but let's go over here go to the output section and uh set a new folder location after you have that we can go to file format go to ffmpeg video and then uh you can use whatever you want again I just use a quick time for me mov format and then let's set the uh quality to high quality h.264 is totally fine for what I'm going to use this clip for but of course change that and then once you have all of those render settings correct we can come up here and render the final animation okay so here is the final result that we got from this tutorial hopefully you guys were able to follow along and get a similar result that you are very proud of anyways it mean a lot to me if you guys consider liking and subscribing as it would help out the Channel with the YouTube algorithm anyways thanks for watching and I will see you in the next video

Channel: Jacob Zirkle

Views: 61,190

Keywords: blender, blender tutorial, vfx, beginner blender tutorial, vfx blender, blender vfx tutorial, blender beginner vfx tutorial, beginner vfx tutorial, blender vfx, vfx in blender tutorial, easy vfx in blender, blender beginner tutorial, blender beginner, blender beginner vfx, geometry tracking, geometry tracking in blender, blender geometry tracking tutorial, geometry tracking vfx, camera tracking, advertisment vfx, blender motion graphics, blender motion graphics tutorial

Id: DxlcpQ8NaYY

Length: 32min 0sec (1920 seconds)

Published: Mon Dec 04 2023