GreenScreen Aftereffects/Blender Tutorial WITH Camera Movement

sapy phonies how's it going welcome to another blender green screen tutorial today is going to be very different than a general green screen blender video because today we're not going to shoot our green screen on a tripod we're actually going to move with our camera around our subject that means we need to prepare our green screen a little better than usual because you can get away with a lot if you just shoot your green screen footage on a tripod plays your green screen character in your 3 scene you can get away with a lot but you can't get away with everything if you just want to see how it's done in a general way just watch this video instead but if you are actually interested how to shoot your green screen footage with the moving camera shot stay tuned because I'm going to walk you through the whole process right now so shooting green screen footage is always a little tricky because you have to match the lighting off your green screen footage with your 3D environment it has to match the light sources have to be the same color they have to come from the same space and that's the first hurdle this is the really the trickiest part to do that properly and for that I always recommend make your 3D environment first because then you know exactly how you need to light your green screen footage you can do the other way around but I recommend do your CG scene first because that's where your focus is on this is what is going to sell the shot which is going to look great and then match the lighting of your real green screen footage I have my green screen in my garage it's very limiting uh I don't have that many Crazy Lights available I don't have that much room either so I have to work around that but basically what I'm trying to recreate is I have my CG footage on my phone I know exactly how I have to light it which is mostly backlit so right now I just focus on lighting my green screen without lighting my character Ally here she helped me out again and I tried to light my green screen without lighting her as much again my green screen room is very limiting it's my garage so it's only so much I can do but basically I'm lighting my green screen without lighting her then I also during the green screen session I have the idea what if I give her a little campfire where she can be warming her hands on and for that I used one of my RGB LED lights set it to fire flicker so we have a little bit of fire flicker on our character if I didn't do that this effect just wouldn't work in CG so I have to also add this fire in in my CG scene that way it's going to match perfectly in addition to that because I have a moving camera shot I have to track my footage in order to track my footage if I had a perfectly lit green screen that wouldn't work anymore because I don't have any contrast points I can track my footage inside of blenders so that's why I stuck a few pieces of duct tape as a cross here and there and the most important ones are on the ground and I also measured them that it's exactly 1 M apart which is going to be important for my blender scene because then can tell blender the scale what is exactly 1 meter in my green screen space which is going to help me a lot to to size up and scale up my my green screen footage so it matches with the rest of the scene in addition to the tracking markers I also kept foreground objects in my scene like tripod standing around it's always help helpful to give blender as much information as possible I know where the ground is I know where the background is I know what what the foreground is in the end we need eight good markers and I I was pretty sure we're going to have them and we did but more about that later but again minimum a preferably a few more just in case because our character might be blocking some of those markers which is also going to be a tricky one for later when you keep out your green screen that you don't have to rotoscope around our subjects which we had to do because my green screen markers were just too close to my subject and that might happen but don't let it discourage you it's always better to place those tracking markers it's it's better to have them than not to have them so do yourself a favor put some duct tape on your green screen that's going to help you a lot so once you have your footage you can look at it and that's that's basically mine we're here in Afters and you can see I'm moving around with my camera and uh we have those markers still in the shot we have still those markers in the shot later on she's blocking one of them almost the other one as well so while I was shooting it I could have just placed those two markers further to the left like here that would have been fine too um but I I also wanted to make some mistakes so you I can show you work around in case you make those mistakes that it's not all lost yet but yeah that will work perfectly fine so in order to get this result here we only want the green screen keyed out we only want to keep our character the way you're going to do that let's start with the new composition in blender we're going to need both videos this scen screen video and also just a key out video but more about that later in blender for now we just need to key out our green screen footage as good as we can for that I'm going to duplicate my layer with contrl D I have two layers on top of each other when I turn off one nothing is going to change because it's the same layer on top of each other on the top layer I'm going to use an effect called key light 1.2 I believe for that go under effect keying and key light 1.2 now I'm going to with this picker here I'm going to pick a green close to my subject which is more on the darker side than the brighter side so somewhere around the butt area now not much has changed because I still have my lower layer selected so I'm going to turn it off so now now I can see what it actually does and I like to use a different workflow instead of showing me the final result I'm going to go and Screen mat so now I'm going to have a clean black and white mask and everything what is gray is just half transparent so we so our job right now is to make everything what is white right now completely white and everything what is black completely black the way we're going to do this is we can increase a little bit of the gain here that can help but don't go too crazy here I prefer going on screen mat and isolate the blacks and make the blacks blacker and the whites wider until the white is going to be completely wide and not further than that so somewhere around here now you can see we have a lot of trouble down here but we can solve that in a second let's just focus on the top area here cool now what I would do now is use the upper layer and use it as a mask for the lower layer that's what it would look like on the track mat I just pull it to the top layer turn on the lower layer again click on this little icon now I have the green removed obviously we still have those green areas down here which probably would not be a big issue but just for for tutorial purposes I can show you how you can solve that too so let's turn on our top layer and we're going to duplicate the top layer one more time let's remove the track mat we don't need it for now okay so we have on top we have two different layers one from the for the top right now now we need to Green Screen the the feet area so let's just call it uh rename it so uh top green screen and this is going to be bottom green screen okay the top is done that's what we already did but now let's work on the bottom so we're going to reset the green we were using here so let's go to uh to source and instead of a green here we're going to pick a green even darker than that so somewhere around here let's go to final result so we see what it looks like let's remove everything else so here it looks way better now let's go to screen mat do the same process we just did so now we're going to focus on uh on this area here so white has to be whiter black has to be blacker but not necessarily even if it's a completely on on zero it looks fine already so I'm just going to focus on the whites here and also feel free to shrink the mask a little give it a little softness you can do that on both shrink a little little softness now we're going to combine those two top layers make it a green screen mask and now I just redo what I did before I'm going to use this composition here as a matk basically as a mask when I double click on it I'm going to use the bottom one just for the bottom so I'm going to draw a mask here and for this I'm going to draw a mask up here make sure that those perfectly align I say perfectly but it's mostly more or less and don't worry about the left and right as long as when you go through your scene that it's all going to be in there this is good enough okay perfect now this is our key out footage obviously we still have all my lights and markers and all that in there so now the job is to draw a garbage mat so for that I click on the bottom layer here use my pen tool and draw a general mask around my subject here and this mask will need to be animated so I hit M that opens a mask path I click on the stopwatch here now I go through my footage and see wherever something like that happens because we have a moving camera shot so we have to look at all the Angles and keep this mask as close to my subject as possible you can see it automatically created a key frame because I'm adjusting the value adjusting the mask so we just have to do this every so often you don't have to do it frame by frame but you're just going to go to scrub through your footage and keep your mask as close to your subject as possible without actually penetrating your subject so stay away far enough but also get close enough so right now I made a key frame at 5 Seconds now I can check in between because it interpolates everything in between if that still looks fine then you're good to go to move on go to a farther frame if you don't want to adjust adust them uh one by one and the general mask can stay the same shape then you can also just double click on your mask and move the entire mask in the right direction and everything in between is going to be interpolated so now we just going to check every few seconds or frames adjust your mask and that's an annoying job but that has to be exact because if you do don't do this right it's going to look funny in the end and you're going to chop off pieces of your sub object or have weird things from the background which are not supposed to be in there in your shot so make sure you do that thoroughly once this is done you see you have a bunch of mass uh bunch of key frames here just make sure especially when you have your markers right behind your subject like here for example make sure to get either very close to your subject with your um marker with your mask so it's definitely going to be outside the garbage mat so you don't see it or if it's like too difficult you can also rotoscope your subject you do that by double click on your subject use the rot brush tool and then you can paint on your subject and that's how you can draw a mask too so yes even in green screen footage you can use the rotor brush tool in that case I would rather not do that because it takes a lot of more render time so once this is done what I like to do is do a first color grade it's not necessarily the right way to do these things but I still like to do that so I right click on my bottom layer the first effect we need is the advanced spill suppressor go in effect keying Advanced spill suppressor what it does is like all the green color here is going to get removed so if you have any spill because when you light your green screen the green spills back on your subject and that is going to remove that one and I also use a color grade tool I use lumry color where my L is on it and that all these features really depend on your camera setup if you shoot your stuff on an iPhone this step is not necessary but definitely use the advanced spill suppressor because that is going to remove all the green spillage on your subject this is without it you can see the uh Green in the hair and and stuff like that done and with it is removed great once this is done go in composition pre-render I have a preset for my green screen footage if you don't have that I can go uh I can walk you through my settings green screen export and what you need is Apple prus 4444 so go in format options make sure this is selected because only then you're going to have an RGB and Alpha option if you only render RGB you going to have a black background so it's not going to help you at all you need RGB alpha alpha stands for the alpha Channel which is the transparency then you just hit render and then you're done okay now we're going to continue inside of blender you can see I have this little scene here rendered it looks obviously a little different this is just a um EV viewport and I can walk you through how I made this Scene It is fairly simple simple it's uh like three main objects I have this little cave here I have my monster which I got from miimo and I also put some hair on it just for like a little extra imperfections and details then I also put like some smoke behind him a little smoke in front of him I also have a little rain just dribbling down um raining down I have tutorials for all those things separate so if you're interested ask me in the comments and I'm going to put it into the description or just scrub through my channel you're going to find them real quick it's a it's like a how to uh put hair on a character simulation um tutorial it's a how to make rain how to make fog and all that I made separate tutorials here the ground one is a tricky one I used Dynamic paint I just publish a tutorial on that which is cool so however the monster is moving you can see that the water is also moving accordingly which is not a real fluid simulation it's just Dynamic paint which you can also look up in my other tutorials anyways if you're interested to know how I made this little cave here it is fairly simple let me just rebuild this real quick so you can see how fast you can make this so I just started with a new mesh shift and you can make a new mesh And the cylinder the cylinder I flip on the side 90° scale this thing up to the size I wanted apply the scale withr a you can apply scale or Transformations I hit Tab and now I can just delete certain vertices so I delete everything I go through transparency mode everything what is let me isolate this uh everything what is underneath here like under 50% I'm just going to delete the faces I'm going to delete this face too delete this face I deleted a little too much so I'm just going to extrude this part e down okay cool and now all I did was just I gave it more subdivision so I select all I hit just a subdivisions right click subdivide and I just look at it how many do I need so I just go to let's say 10 let's just say this is enough and now there's different ways how to do that the way I did it was just I went to sculpt mode and now I can just paint on it give it a few imperfections just randomly I can go in Plus that is going to make some stick out just draw all over this really random make sure it's like everywhere cuz it's just to be supposed to be like a random cave and know sometimes I go in plus sometimes I go in minus and then uh that way I just uh draw a little bit then I can also just pick a few vertices and let's say I just pull some out you know just just to have a little uh what is this stelic mites or so just make sure it's random you don't want it to be even because a cave is very random yeah that way and that's basically the same thing I did over here see took like a minute to make then you just give it like a random material you can find on the internet I use poly Haven for my materials which is pretty awesome I I gave it a what is it called a brown mud uh material and then it it's going to look like this the one thing I adjusted in my material though I gave it under roughness I gave it a ramp to increase the contrast and the roughness just to make it look more shiny that it's wet because it's inside inside of a cave it's always wet let's just assume that so that's why I gave it a color ramp between the the actual material and the roughness that way I can just bring it closer together and then it's going to be a little more shiny great now let's move on to our actual tutorial here which is tracking our footage and putting in a camera and our our green screen character into our environment and that's a tricky one so stay tuned here so we go to motion tracking under motion tracking we open a new video my video is right here so we're going to need to track our footage now so the way we're going to do that is uh go to track set scene frames and prefetch that's going to load everything into your RAM so it's going to be smoother inside of blender now under tracking settings I like to use either fast motion or blurry footage in that case I'll just use blurry footage it just usually works better I don't don't ask me why then I also select prepass and normalize and now either detect features which I don't recommend because you have a moving person in your shot you don't want to track her you just want to track everything around her so the way I'm going to do that I hold control and left click on my marker and I just keep kind of holding control and make trackers everywhere where I believe this is going to stay in the shot for a while or preferably throughout the entire shot this one I have to move a little you you can always adjust them by clicking on them hit G and and then you can move them a little and just select a few markers you believe those are not going to move also use the foreground don't use the dog even though it's adorable this is Kira by the way and when you believe you have enough again you need eight good ones in the end hit a and you might want to adjust the scale a little maybe not depending on how fast your camera is moving if it moves faster you want it to be a little bigger if it doesn't move as fast you want to keep them as small as possible now a little mistake I made by accident I uh selected those markers on frame five you should have done that on frame one if you made the same mistake you can just track backwards first now it just track the five frames to the back first and I'm going to go back to frame number five and track forward okay we already see this uh tracker lost its track it's tracking my person already so that's a problem and I can also see that on here you see my little graph editor this one is really not doing what the other ones do so I can already see that in the grapher and up here I take another closer look what the other tracking markers do the other ones look fine so I'm just going to delete this one let's see what this one is doing it's the one here on the right I don't believe we're going to need that one either so I'm just going to delete that one also you want to have as few tracks as possible because then it's going to render faster that's another important thing I see this one is also not doing what it's supposed to I click on it it's this one here this graph I'm going to delete it as well okay I hit a so all of them are selected now I go to solve and make sure focal length is selected optical center is selected radial Distortion is selected also select key frame and now solve camera motion that's going to take a second but the goal here is to have a solve error of less than one pixel we have 38 which is great now I could keep deleting more trackers but I feel like we are going to be okay here now remember how I told it's important to measure exactly 1 M which are my trackers down here this one and this one are exactly one meter apart so what I'm going to do is first I'm going to go to scene setup hit set as background and set up tracking scene now I can already see here that I have all my trackers floating around they're not going to be in the right position yet so what I'm going to do is Select this one and set origin now this is my origin here perfect now I'm going to select this one and this one both of them and make sure this is set to one because it's going to be 1 M and you can already see it says distance between two bundles used for scene scaling now when I hit set scale this is going to be exactly 1 M apart in my scene which is super important if you have like vehicles or or buildings or anything where you can see it has to be to scale this is what it's for because you don't want your green screen character to be too big or too small because then the entire is uh the entire illusion your VFX is not going to work out okay now one more thing is this is our origin now we have to set our axis so this is going to be our x axis left and right so I'm going to select only this one hit set x axis when I hover over my viewport here I hit on zero on the numpad I can see this is my X axxis now but it's looking in the wrong direction so I'm going to hit x-axis again so now it's looking in the right direction so Y is going to be back here x is here Z is up and down now this part is done let's just save real quick and now we're going to go back to our layout on top here we're going to hit zero because this is my camera view and now we can see the camera is looking very down right now so it's going to be very hard to see our monster later but that's okay the other issue is we do have our green screen as background set in the camera which I don't need either so I just go to my camera settings and turn this completely off now we still don't have our green screen character in here because we didn't import him or in that case her yet so what we're going to do is go to our ground here where I want my my green screen character to be hold shift right click on the ground this is my my my origin now hold shift a image images as ples if you don't have images as ples here which you should go up here to edit preferences add-ons type in images turn this on and save preferences then you're going to have it too so now shift a image images is Plains now I'm going to import my green screen character which is this video we rendered Auto of After Effects and here she is obviously too small so now my job here is to align her with my camera perfectly so the way I'm going to do that is go with my green screen selected go to constraint as object constraint track to and under here you select your camera now hit positive Z so now it's perfectly looking at our camera what is what we want now if we if we played our footage now we're looking at this screen up here you can see that our Green Screen Video the plane is sitting in our footage here but the problem is the footage here the green screen footage is also moving because the camera in the green screen footage is moving but also the track camera we just tracked inside of blender is also moving it's double movement right now and that's something we have to enol we have to basically remove this extra camera mov I hope that makes sense probably when I rewatch my tutorial it's like what the is he talking about but it really does make sense so um what we're going to do is so we're going to select our green screen footage now we're going to select our camera with holding shift with holding shift now hold control P to parent this so now wherever my camera is going or the camera is rotating my person is going to move the the same way so now what I need to do is scale up my green screen footage and bring it to the right position so I'm looking at those edges here until it's more or less perfectly aligned now the constraint we made we can just apply so it's not moving anymore so now it's perfectly aligned and our green screen guy or girl in that case is moving just like our camera is moving and that's perfect so now we can see she's sitting in the ground and also I don't like the camera angle the way it is because we don't even see the Monster anymore so what I'm going to do is Select both again and first of all bring her into the right position the way I want her to be I also going to go to my last frame and rotate my camera that I'm going to get a better angle on the monster the way I want it in the end just make sure when you do that have both selected because you don't want to just move your camera camera which technically would be fine too because it's track to one another but you don't want to just move your green screen person in case you do that accidentally just hit right click then it's going to snap back so you can just because it's parented to the camera you can just move the camera only that's fine and yeah I'm just going to rotate my camera a little bit this way make her the same size or the right size according um next to my miow because I know he's like 6 fo something and she's a little shorter so I'll make her also a little shorter so now I'm going to need a fire here and the way I'm going to do that is going to be very simple just go right click here shift right click here I'm going to add another imagees this planes go to my action Essentials pack and use some kind of fire they have in here great that one looks like a campfire I'm just going to place it right into my fire pit I'm going to delete the principal bsdf of my fire make it an emission instead plug this directly into the color that into the output now this is just being emissive I'm going to use a transparent note mix those two and the alpha goes into the factor and my little green screen character Aly I can either do the same thing I can use the principal bsdf and as is and see what that looks like let's go to cycle so we have an idea yeah that looks pretty cool make sure something I forgot and also add constraints to the camera so track two and track your fire to the camera so it's always moving to where the camera is so I'm going to move this one a little closer I'm going to make another one with alt D bring it a little further back so we have a little bit of threedimensional effect and this one is going to flip maybe scale it down a little just make sure it's still in your fire pit that's somewhere here great now we have a fire here you can always increase increase the the emission either so so it's actually going to impact our environment either you can increase the um emission strength crank it up but then the flame itself gets brighter what I rather do what I recommend is having another light source right here shift a light make it a point light go to your light settings and the color we're going to pick just like fire fire color let's make a pick a bright one here cool now we're going to increase this and you can see he's getting a little more fire too that's why I'm keeping my little Mel here as reference and now her because she's just getting red right now I don't want that so for her I'm not going to put I'm also going to make her emissive instead of using the color so what I'm going to do is use an emission node a transparent node mix those two and the alpha goes into the factor I have a transparent note I made a translucent note by accident great now I can adjust her individually and just make a and another RGB curves node plug this in in between and I can adjust her color individually make her darker basically I try to make her look like him right now so has to be way darker until it looks good and once you're satisfied hit on render hope for the best and a billion hours later this is the result so I hope that was all clear I know it's a complicated process but once you get the grasp of it it is very useful I want to encourage you to use this kind of workf to not just shoot your green screen on a tripod and then just put your green screen in there as images as ples and just track it to the camera because you only can do so much and with this process this is the real Hollywood way to use your green screen footage so definitely try it out don't be afraid make a little test scene then you can just experiment with it it is a lot of fun and I I'm loving the result if you have any questions please let me know in the comments below check out the other green screen videos you can see on my screen right now in in case you are interested in the other workflow thank you so much for watching and see you in the next [Music] video

Channel: Phil Flock

Views: 31,986

Keywords: filmmaking, cameras, filmmaking tutorials, peter mckinnon, matti haapoja, 2 minute tuesday, los angeles filmmaker, sony a7s iii, sony fx3, filmmaker tips, filmmaking beginner tips, phil flock, aramis merlin, deutscher youtuber in amerika, blender, visual effects, special effects, tutorial, blender 3d, blender beginner tutorial, after effects, premiere pro, liquid simulation, 3d artist, particle simulation, blender cinematography, cinematic, green screen, blender greenscreen

Id: g6VYit1TPmk

Length: 32min 46sec (1966 seconds)

Published: Mon Mar 11 2024