How to Create Hollywood VFX in Blender!

hey guys it's Steve here from CG geek with a new exciting blender tutorial this tutorial is gonna be creating Hollywood green screen effects all within blender we're gonna be using a b-roll shot from an Avengers infinity war and we're gonna be compositing it completely in blender using some tracking using some chroma keying and using some masking all using blood is powerful tools to create some really great looking results but Before we jump into it I like to thank I have her for sponsoring this video the eye hacker USBC hub features HDMI 4k output from your PC or laptop three USB 3 ports with type C power delivery and an SD and micro SD card reader it's all the ports you need in a compact and durable design check them out with the link below [Music] okay so starting off in blender the first thing you want to do is punch in the settings for the footage you're gonna be using I'm using just 1080p footage at 23.9 or 29.97 fps but if you're curious on how to find what your settings are exactly all you have to do is bring up the footage you're using and then right click on it and go properties and then under details you can see right here we have the frame width height and the fps and if you want to use the footage I'm using this is just a shot from the Avengers b-roll footage that I pulled off YouTube that has our favorite and guardians in it and works well if you want to use that there's gonna be links in the description for the footage the backplate and some other stuff so you can go ahead and download that but now we're gonna go ahead and open up that footage so I'm gonna start by going to the compositor I'm gonna choose use nodes and backdrop we can drop this down a little bit and make this a little bit bigger and we can also hit n on our keyboard to close off the properties there so I'm gonna delete the render layers as we're working computing and compositing for the most part some delete the render layer by hitting X and then shift a and add in a movie clip I'm gonna go ahead and open up that movie clip we just took a look at and we can go ahead and go ctrl shift click to put in a viewer node and you can see our guardians in the background here I'm hit alt V to zoom in and V to zoom out so I'm gonna hit V a few times just to zoom out and then middle mouse wheel will move you footage around so here we see we have a green screen and then we have some pieces of these sets kind of visible in the background here so that's gonna have to be masked out but first let's get our gradient set up for our green screen so if you using say a color screen which I'm going to use as kind of our base mask so I'm gonna go shift a and in a matte color key and if you just plugged in your image here and then shows a green image by grabbing our eye dropper here and picking like a relatively middle-of-the-road green color you'll see if I go control shift look at this that we're not cutting out too much we're just cutting out pretty much to that color and we can change our hue and a saturation to make it a little bit better but it's not gonna get the shadows and the highlights like we want so to do that what we'll actually do is we're going to create what they call a keying screen a king screen allows you to take a color and kind of make a gradient of it by tracking the background and we'll find the shadows and this will allow you to get a much more accurate key by having a variable color here instead of just a solid color as a key color so this is something to actually just learnt and it's really cool so I'm gonna show you how to do it real quick run jump over to our motion tracking tab we'll grab our footage right here it's already in the cache here because it's in blender so if a scrub through the timeline here now you can see that we only have about 32 frames of footage here to work with so I'm just gonna change my endpoints in the timeline to be 32 so we don't have a lot of wasted space and I can scroll in here and we can start placing some trackers so the trackers are going to tell blender what areas of the green screen are the different shades of green basically so it knows to kind of generate a gradient and use that as the key in color so to do this I'm going to first create a new object I want to call this green screen over here this is just so we don't mess up the camera track in case you had to track your camera as well in this case it is pretty still so we're not gonna bother doing any tracking and I'm frame one I'm just gonna hold ctrl and I'm gonna start placing trackers now I'm not going to be placing trackers to actually track because in this case I just need to still gradient because there's no shadow is changing in the background but if you had shadows say moving over your green screen half way through the footage and you wanted to track that to kind of make it because you can animate this gradient then you might want to track these trackers through the hole footage in this case I'm just putting them all in frame one and I'm not going to bother tracking them so to place the tracker I'm just gonna hold ctrl and click and I'm just gonna place these around my character making sure they never go where the character goes so they're always outside of the characters motion and I'm just gonna continue placing these around in the different shades of green so we can cover some of the darker green and the shadows over here I can get one right in between our arms there to show that there's a shadow back there and some down here and just to kind of cover all the different colors of green too to make it so we have a nice gradient of what this green screen actually looks like so there's a good pretty good amount and we should be able to work with that if I scrub through here just to make sure that last one my place won't work I'm just gonna jump back to frame one and move it over here a bit and then we can see okay we don't have any trackers that the character goes over so we should be good to work with this perfect so I'm just going to jump back to frame 1 select all my tracks and we can leave this now we can just jump back to our compositing tab so in our compositing tab now you can see this is what the results we were getting with our solid key color but if I go shift a and add in a keying screen we can grab our footage there change it to the green-screen object we added and if we go ctrl shift click on this you can see we have a gradient made up from our keying and we have a little bit of a weird color going on down here and we can just do a little bit of adjustments to actually fix this I'm going to jump back to our motion tracking tab and I want to open this up so we can see it updating in a real time up here I'm going to switch this to my note editor right here and we'll switch it to the compositing tab and choose backdrop so we can actually see our keying screen in the background up here I'll drop this down a little bit lower and then I'll just pull this down real quick here but pull those two down and so you can see the gradient we're making up here if i zoom out a little bit and you can see we have a little bit of a weird bright light going on right here and that's because of this marker here so that's not gonna work perfectly so I kind of adjust this and you can see it update up here if I do this if I just movies off that you can see what kind of tweaking our green screen and we have that so I'm not going to worry about this as I characters never really go over it we can just use that as a mask and it will get a better green screen results if we just don't bother with that so if I put another one over here you can see the results we get and this just sets up a nice looking green screen now you can see with this tracker here that I just placed if I was to scrub through the timeline and the character goes over it you can see a green screen automatically adjusts for the color of that tracker and it it would throw off our track a bit so that's what I want to keep all the tracks outside of the character's motion so they never get so we never messed up our background basically let me just place that somewhere where the character never goes and we should be able to scrub through here and see what I didn't move that right I'm just gonna delete that one actually and I'll add a new one here and you can see that we have a pretty nice-looking gradient here where our characters never go and that will work well for King the more you place the more updated your gradient will get but I'm gonna leave it at that for now and we can do some some green screening now if I scrub through here you can see that none of the trackers ever touch the characters and the green screen stays a nice consistent color perfect so with that done we can go back to our compositing and we can see the different results now if I look at my color key we only have this much chrome mode but if I connect the King screen to the key color we have all that chrome mode so it really saves a lot of time and makes much more accurate keying screen now I'm gonna adjust the hue saturation values feel a little bit to choke up on this a little bit more as as I go here just you can kind of cut some of the bulk of the green out it's not going to give you a great track and that's why I'm going to use multiple keying screens on this to get the best results but you can kind of cut away the bulk amount of green with this node so ever scrub through my timeline over here you can see as it updates that our green screen looks pretty good it's obviously not finished yet it's just a rough mask but this works to cut the bulk of the green out of our scene so let's make this green screen a bit cleaner looking now with another node so this one is going to be shift a and we're going to add in the matte the keying node so this is kind of the most powerful keying screen here and this is going to work to really perfect our green screen here so I'm going to do is I'm going to take this node and I'm gonna plug it into the garbage matte so that's just that's going to just take out a big chunk of the image and I'm going to connect the image to our image tab on the keying screen so if I go to this we can see that well first off it's not looking great and that's because I need to invert this keying screen or actually now I just need to take the matte I'm sorry as the garbage matte and then invert it so color invert there we go so we have the matte being used as a garbage matte on our King screen and now we're gonna do some some perfecting on this this setup so I'm just gonna kind of go through these settings now from top to bottom and tell you what I used in car key you an idea of what they will do for your scene so first the pre blur is kind of blurring your scene a little bit before calculates the key and I found this actually gave a little bit of a cleaner result you can see I have such a three here if I could turn it up a little bit you can see the edges just get a little bit smoother on your object usually there's a little bit less of a rough cut so I like to give this about a 5 or 6 on the pre blur so we'll start with that and then the next thing is the screen balance and this is gonna have to be set right around a point 7 or so is what I use in my scene if you pull it down too much you start cutting into your characters a little bit more than you want so don't go below point 5 and I keep it around 0.7 again this is gonna change a little bit though for every scene now the d spill factor and balance here this is kind of for taking away the green color that is reflected onto your characters and it actually works really well you can see if I turn this down you have all this green in your character and this basically just takes the green values and changes the color change the hue of them and makes it match the rest of the scene so you can see why don't leave this all the way up as it's doing a great job of just removing the green around the edges of your character and then the balance is kind of the shadows of the green if I turn this all the way up you see we have quite a bit of green and our characters but if I pull it down you see it kind of gets rid of that green you don't want to go too far again because too much too much of a good thing is a bad thing but we'll leave this right around 2.3.4 now the edge Colonel radius and tolerance these settings are for basically cutting away in the edges just like they say they don't really do that much difference in most cases so I'm just gonna leave it at about a 4 and a point 4 and we can tweak these later if we need to but for now that's gonna just be fine now the clip black and white this is kind of used for cutting down on the green screen a little bit this is kind of the tolerance I guess you could say so if you pull the white down you can see we don't really get too much of a difference in this case let's look at a different character and see if we're getting any of your results yeah over here you can see pulling it down actually kind of gives a little bit more info into our character sometimes changing to the mat here will allow you to see what's being cut out better and if you pull like the white down you can see if the white is being removed from our scene and that's exactly what we want will not take it away from the Beulah being cut out right there so I'm gonna leave this around 0.27 and then I'm gonna give it just a little bit of a clip black here not too much because that's kind of making that worse and then we can kind of adjust our screen balance to try and get that spot out of there maybe taking down to about 0.5 as it's helping in this case and then the last one is the feather distance so this is going to basically do it it says it's gonna feather your screen but I don't like to go on a positive number because if I take a look at this you can see we suddenly get the green being feathered there so I like to give this just a little bit of a negative number going down to about a negative 3 or 4 and it just kind of gives a nice sort of fading edge a little bit especially if there's motion involved in your characters that will work really well so a little bit of that and a little bit of post blur as well helps to give a better key so I'll take this down to about a minus 0.5 leave that about a point to and then the feather fall off you can sometimes get better results playing out of this for example I think inverse-square actually cut down a little bit more the green for me and was more of what I was looking for you can see the default one is this and sometimes giving it a little bit more will cut down just a little bit more the right stuff for for whatever scene you're working on but now we're gonna have to tweak things a little bit just to kind of get rid of where it's cutting through areas that we don't want it to like down here on nebula so I'm going to change the screen balance here a little bit see if we can't get a little bit better results down there now maybe it's not even being caused by this maybe it's the color key doing this yep it is so that means we have to just a code key first you want to make sure that you color key isn't affecting your scene that much it's basically just to take out the bulk of it but you don't want to touch the characters so to cut out some of this remaining sort of green in here I'm going to just take the saturation up a little bit on my keying screen and that will do a pretty good job of cutting most of it away leaving us with some better looking results here and you can tweak this back as much as you need but as long as it's right about there I think that's gonna be pretty good I'll get a little bit up on the head there so you might have to take a little bit more out up there and we're just gonna kind of play with these settings so we're not touching the character but we are taking out the bulk of the green so after some tweaking on the final settings you kind of want to settle on for this scene probably is about a 1.9 and a huge values here whoops not a whole 100 point 1 9 and and then about a point 2 8 and a point 2 5 I found looked pretty good you still have a little bit of problems over here and this is where the masking is going to come in because obviously this is an object that won't be removed and you have to do a bit of masking same thing with the markers but for the most part the screen it was looking pretty good maybe a little bit more blur effects on the the pre-screen and if you check out the mat now you can see we have a pretty solid mat with a not much character being destroyed anywhere anything and if you want to continue tweaking these values of course you can maybe taking the clip of white down a little bit because sometimes help a little bit in this scene but if we can scrub through here we can see we don't have any major issues a little bit on directs here so you might have to tweak one of these families just a tad if you hold shift you move a little bit less and you can see that it's not really that value so we'll leave that and this one cleans it up a little bit so we'll pull this down a little bit to clean up tracks a little bit there but otherwise it's looking pretty good and we're ready for some masking masking is gonna be the kind of tedious part where you want to avoid it as much as possible but it's always kind of necessary so to do the masking we're gonna switch over to our motion tracking tab here and I'm gonna zoom in a little bit I'm have our compositor up here which is fine because we'll be actually using that and we have our masking tab down here so I want to change from tracking to mask and for this we're gonna want to make a new mask so I'm just gonna click new and we'll start with a simple mask so we'll do dracs just type in Jack's right there and to add a mask all it's gonna be is just like when you're adding a tracker it's ctrl + left click but if you click any drag you can pull out your hand a little bit here and this would give it a little bit more control for animating so actually I'm like we've delete that though because it should start on frame 1 and I'm also going to turn on the automatic key frame insertion right here because we have to animate these masks if you want to have an animated scene and so doing this will automatically add keyframes every time we tweak the mask so before getting into an animating or masking the first hide the tracker markers here as they might be a little distracting so you can just go tracking hit a to grab them all and hit H to hide them and then back into our mask settings so we can collapse this we can actually want we'll leave this open for now but I with our tracks we're gonna go hit ctrl + left click to pull out our mask layer now I can see I somehow made two mask layers over here I'm just gonna delete one and then I'm gonna continue with our mask clicking and dragging our handles out on this one might be a little bit closer than I needed to so I'm gonna actually pull it a little bit and then click again we only really need about five handles or something for an object like this and just like anything in blended you can grab it you can rotate it and you can scale it so we're just gonna do a real basic mask when we click over here whoops you want to make sure you have the right point selected click right there and we'll put one down here and then I'm just going to go alt see and that will close it up so you can see I can scale this one a little bit then to make it fit around it's like there and we have a nice box box mask around him so if we want to see this in action what I could do real quick before we do any animating is pull this down a little bit I should really just close off this island there we go and I can open up that mask right here so we have our King screen I'm going to drop it right underneath our King screen so we're gonna go Maps or no input mask we're gonna choose Drex and I'm just going to go adding in a color mix we'll change this to screen and then we can plug it right in to our garbage matte on our King screen here I'm going to drop it in right here and I'm gonna add this mask to it and the bottom and you can see that he's gone that's because it's opposite so we need to trap a invert node in and you can see we have tracks and nothing else because we haven't done any of the other masks but he's there and he's perfectly clean with no markers or anything around them perfect you can also choose motion blur which will give you a little bit of motion blur between the animating frames in this case is not really necessary because this is just a box mask but if you're doing a closer mask you can get better results using motion blur but otherwise we can leave these settings as it is and we can do a little bit animating real quick here to show you guys how you can animate the mask so with everything selected I'm going to grab it and just click and with the automatic keyframe insertion on we have a keyframe right here you can see with a little line right there and I'm just gonna move every 5 frames or so and then move the mask with it with it so I can just pull it down a little bit and you can see we have a little bit of a marker coming through right here so I might need to tighten this one up right around the arm there to get rid of that marker and that's it if I scrub through you can see the mask rotating our moves with Drax here and we get that little marker covered up as soon as it's visible so we'll just move ahead another 10 frames and tweak our masks some more we're just gonna pull this whoops option H if you hit H you hide it so you want to hit G instead of H and then I'm just gonna pull it down pull this one out and I just kind of keep it up close around him perfect we can move out of there 5 frames or so here we have them hitting the ground so I'm just going to whoops not hit H I'm gonna hit G and we'll that will place this right at the base of his foot here just grabbing it pulling it into the corner there whoops I'll hit rotates to kind of get rid of that mask and just have his foot sitting right on the ground there that work I'll pull this one down here and uh that looks pretty good I think we can move forward another 5 frames what about there here we're gonna have to pull this up now we can rotate it I'm just keeping out the green here because that's not king very well so I'm just gonna not worry about it and I'm gonna keep it in the mask or outside of the mask I should say as that will that will make it work perfectly we don't have to worry about nebula because she was gonna be in the scene anyways so it's okay that she's visible there in our scene and I'm gonna scale it down a little bit and we can move forward so I'm not gonna show you guys how to animate all of them just this one as it's the example and then I'll go ahead and do the other ones off-screen but this is how you do the basic character masking moving frame by frame and moving the masks with them but actually I'm not moving frame by frame it's moving about every 5 frames and that it's just keyframe between them and you will have to come back and tweak it sometimes but for the most part the this seems to be working where I don't have to actually tweak the in 15 keyframes at all and just working well to match our character moving every five frames it does help this scene is kind of slow motion but it's it's better for us because it's easier so now I'm gonna go ahead and grab this one pull it down to about the bottom there about so making sure he's in there and pulling this down as well so the other thing I want to show you guys in the mask over here is you can't offend your mask manually too if you need to adjust the feather for it in an area where you might need a blurred mask so to do this it's just shift and right clicking and you can pull out a feather on your mask and then if you need to tweak it in certain areas you can just left click and pull that handle in and so this is gonna work to kind of give it more masks more feather in a certain area and less in another and if you want to see what I'm talking about if I jump to my mask here you can see we have the feather and we can increase how soft it is in different areas so you can see butter has some really powerful tools from asking as well as tracking and chroma keying but in this case I don't need the feathers I'm just gonna delete it and we'll move on with a little bit more masking real quick so we can see now that we have our mask set up for jacks and if I scrub through my timeline here he is he's nice and cut out the whole time and that's working perfectly but the the one thing I want to show you guys is we need another mask for nebula over here and you can see this one's gonna have to be a little bit more detailed as we have the arm in hand so I'm going to show you guys quickly how to initially set up this mask and then I'm gonna go ahead and animate it or grab an animated version already so I don't have to show you guys the whole process again so for this we're gonna create a new mask so we hit plus let's call it Neb and i'm going to add in the Box basic max just like Drax so for this is just going to be clicking dragging same thing like before keeping the trackers out of the mask grab that one and this is just gonna be a really rough mask and I'm just going to leave her arm completely cut off and as well as its light here so I'm just going to use a handful of markers here that should be all we need and then I'm going to go to the last one I go I'll see to connect it and that's pretty much all we need right there but for the arm here I'm gonna have to add another mask and to do this and use a mask layer to keep it nice and organized and hit plus right there we can just call this one arm and to do this I'm just going to add another mask now but this one's going to be as smaller and more detailed as we need a few points for around her arm and the side of her body here really as this comes into screen so I'm just gonna pull these out going around the hand here making sure I have enough markers to accurately follow along few up here around your thumb there look at that detail perfect you can kind of pull this out a little bit and then I'll put one down here maybe I want one in the middle of here actually at the point so I'll pull this down scale it down a little bit this one's gonna have to be scaled down as well pull back so as you can see this is how you get a little bit more if a detail mask going on and then I'm going to control put it this one up here along the arm we'll get one more up here because actually I think our head comes into it too so you would need a few up here for later on these don't have to be perfect right now because that's not connecting anything so we just put one right there one right there and then we come down here with our mask whoops I should be pulling this out a little bit yep that's when we come down here and then we can connect it with maybe one more right there and then alt see so we have that mask connected and now if you look at this mask in here I'm just going to duplicate this mask I'll change this one to Neb then I can just duplicate this screwing node up here put it right before the invert node and then connect it to our new mask and you can see that we have both Neb and Drax and that arm is actually perfectly cut out due to our mask so that's how you do some masking and if you were gonna animate it you'd have to go through all the frames just like I did but instead I'm just going to grab a version where I already have it animated and we can follow up with the rest of this video putting a back plate on here and a little bit of compositing effects to make a match a little bit better and then we'll be done with this this green-screen comp and you'll have created your own Avengers scene in blender okay so here we have the masks finished now I have Peter added here and I have nebula animated all the way through the end as you can see here if I jump to one of these we have just our basic box mask animated to follow Peter and if I jump to nebula here right up here you can see that we have the arm there animated as well following her arm like it does it doesn't look perfect but actually looks pretty good once it's on the character so here we have it and we're ready to start adding a backdrop actually I see a little bit of an error right here we see some track and market right there so we can quick fix that by jumping over to our motion tracking make sure we have that footage pulled up here going to mask and grabbing Peter so right there you can see is the problem the tracker is in the scene so you just grab this marker here with the automatic keyframing on you would pull it over that marker right about so and that would be it you can see that it's now fixed and we just scale it up a little bit actually we could do even better right there and then it's perfect so if we go to compositing now and I scrub through here you can see that that's gone so it's gonna be a bit of tweaking that you guys have to do is you find errors but that's how you fix it up so now let's add a background so I'm gonna add just an image and open it up again this is available in the downloads below but this is just a shots of the Red Planet's in the movie that is that I masked out one of the characters actually so we have just a blank background plate of a cool planet here so it's a little bit blurred actually because it was a moving shot I did a little bit of sharpening on it and you can see still a little blurred but that's okay because we can actually kind of blur our characters a little bit to match the camera blur in the scene okay so to put this in the background first we're just going to add in a converter er or color alpha over drop it right in there and we're gonna plug the background into the top and this image into the bottom and you can see the law we have a background but there's a little bit of an issue and you can see some of the green-screen praying a problem here so to fix that all you to do is choose convert pre-multiply and that just cuts out a little bit of whatever you were seeing there and it cleans up the image so you want to start by doing that and then what I like to do is I like to scale the background to fit the image size here so to do that it's going to be just a scale node I'm going to pull this up here I'm gonna go shift a and in a distort scale node I like to leave one with the relative here so we can change the overall scale and then after that I'm gonna put one just to scale it to the render size we want to crop to the render science so we have it the right aspect ratio there and now you can adjust the background scale with this I'm gonna actually take it down to 0.9 so it's a little bit smaller in the background and I just kind of fits the scale I thought a little bit better and that is that so we have our background but as you can tell it's not looking great because of the blur our courage is a little bit too sharp in front of the blurred background so we're just going to drop in a directional blur node between the king and the alpha over node here it's a blur it's a little bit because as you can see here they're a little too sharp so I'm gonna go shift a and I'm gonna add a filter and directional blur drop that in right there I'll zoom in a little bit here so you can see the settings a little bit better that we use and to do this I'm just going to first give it about eight iterations this is like the quality of employer basically so I'm gonna give it eight so it's a nicer higher quality blur we can turn wrap on I don't know if it really makes much difference in this but we go ahead and do that and then I'm gonna give it just a little bit of a distance so I'm gonna give it about a point zero zero four as too much goes a long way but you can see right after doing that we have some motion blur on our characters now this is good but I want to change the angle a little bit to make it look like the blowing maybe jumping upwards a little bit in the blur so I'm gonna change the angle here I'll make it about 105 degrees I found just looking pretty good and that just kind of blurs them in the right direction I feel for this scene a little bit better and then we can kind of offset the center of the directional blur so I'm gonna take the Y down to about a point or up to about a point eight I'm sorry and that just kind of gives us the better positioning for the blur when we add a little bit of zoom as well I'm gonna add a little bit of zoom blur about a point zero one if we do that so you can see that our characters are kind of blurred a little bit more kind of blurred towards you a little bit and I think that just looks a little bit better now this might be a little bit more blur than you want if so you could just take the distance down a little bit here maybe about two point zero zero three and get a little bit of a sharper character but a little bit of blur add some more realism to it especially when this motion involved and I think that looks a bit better so next up is color grading we need to do a little bit of color grading to make this match the background image and it really helps a lot just to tweak the colors a little bit in a case like this so I'm gonna drop in a basic color balance no.1 right here and we're gonna first give the highlights which is more of this and here the gain a little bit of a yellow hue as you can see like Drax doesn't really have too much yellow on him but the Sun here is yellow so it would look better if you had a little bit of yellow on them so I'm gonna give the highlights some yellow and if you click that you can see right away it looks better not maybe quite that much a little bit less pull it back but a little bit obviously helps out off the bat and we can do a little bit the same here in the gamma now the last thing is the blacks look just a little bit too black in certain areas like here and it doesn't match the background so cranking blacks up just a tiny bit in brightness can make that match a little bit better not eating that much but just a tiny bit can make the blacks look better and so something like that looks much better I think so that's about it you can bring the highlights up a little bit too if you want to bring it up a little bit for the light there but overall I think that looks looks pretty good and we have a much nicer looking composite there so getting to the end of it that's about it the last thing is if you want to add something like an explosion to kind of separate these characters from the background too and give them more of a purpose for jumping like this you can do that by adding in an image over our background image I'm going to show you how to do this real quick just for fun you wouldn't really use it in an animated shot because you'd have to simulate something but I'm just gonna use an image to show you guys how you would composite it in blender so I'm gonna go ahead and go shift a and in an image and we can open up the last image I have included here and this is just a fireball from Google Images and you can see that's actually a character in it but that that doesn't matter because we're gonna not be taking any of them the shadows basically we're only taking the highlights so I'm gonna take this and I'm just going to add it to our background image it's gonna go color mix drop it right in there I'm gonna change it to add I'll take this image and we'll drop it right in the bottom here and if I go to that you can see we have our our fireball right there that's good but it obviously needs to be scaled a little bit and it's a little bit you're seeing too much colors that you don't want to see so we need to drop a color balance on it so we can tweak the colors a little bit so I'm gonna go shift a color color balance now this will allow us to change the colors enough take down like the mids and the shadows so we only have the light that we want and you can see that character that was in that scene kind of immediately got removed and you can turn the brightness up just a little bit all right now we need to scale it to fit our render size so I'm gonna go ahead and do just like before scale so it's a render size and voila a nice big fireball back there and it also looks better if you turn the ad factor here to about a 1.1 so it's a little bit more intense and we can choose clamp there to it we don't really need it in this case but just in case we can do that and then the last thing is tweaking the scale a little bit so we can duplicate this scale node one more time and we'll change it to relative so we can kind of make it maybe a little bit bigger than it is right now by cranking this up just a little bit and maybe even scaling it a little bit along the x-axis or y-axis to make it seem longer more the shape you won't want something like that okay perfect now if you want to move this around it's one more node and that's a translate node you drop that in there and you can kind of position exactly the way you want it now you could even do some animating on this if you wanted but just kind of finding where you want it moving around get in the position right like so and then if you look at it combined with your characters but mom we jump here and boom we have our characters being burst from this fireball over the green-screen plate and it looks actually pretty good you could do a little bit of a color adjustments on this fireball if you wanted to make a little bit more intense change the colors a little bit of course but I thought it's just kind of fun to add add something else to the scene show you guys how you can drop anything in the background there and it would look pretty cool but that's that's gonna do it guys that is it for our green screen Hollywood effects all were done within that blender so you can create your own Hollywood movie now with this knowledge and hopefully you guys learned something had some fun I thought this was a pretty fun project so I want to share with you guys and yeah that's gonna do it for me guys so you can make this animation if you want it to go through the work of maybe simulating a rocket back here or just turning that off completely because you don't necessarily need it for this scene but if you want to have something you can put an animated explosion back there or something and it's already animated with our characters moving and if you like I said at the beginning if you were gonna track a scene what you could do is you could you could track it with these markers just to give the camera motion and then have that in there as well obviously I don't really need it for this scene because there's not really any camera motion in this shot but yeah that's good guys I hope you enjoyed this tutorial if you did leave a like leave a comment let me know if you have any issues with the tutorial and someone can help you down in the comment section but that's can do it I'll see you in the next video

Channel: CG Geek

Views: 369,511

Keywords: Hollywood, VFX, Blender, Tutorial, Avengers, Infinity War, How to, special effects, Learn, Fun, Easy, Realistic, animation, greenscreen, bluescreen, chroma key

Id: clC5lLDn49Q

Length: 35min 48sec (2148 seconds)

Published: Fri May 25 2018