Integrate 3D objects into your Live Action Footage

have we done it are we live I think we're live yes we've done it welcome back guys welcome welcome welcome back welcome back to yet another live stream VFX episode today we are doing something a little bit different you know I heard you guys in discord channel you guys want to learn how to take some you know some CG stuff basically right and put it into a live action scene that you had filmed with you know your camera phone or your a7r - you know what whatever you're filming on you want to put some CG stuff into that live-action footage and that's what we're doing today so as usual I have snacks I'm going with the roasted garlic hummus this time the pretzel crisps these things are the best and I am the biggest fan of kombucha and we got some cayenne kombucha here it's spicy I feel like I'm getting healthier with every single sip so some little little extra special today um I figured out how to finally enable I don't know what this thing is super chat Oh super chat yes I have enabled super chat a super jet and usually I would be pushing you guys to let's see my website here to help out and support if you guys are feeling if you guys are feeling nice but yes I am selling prints here but you know they are 40 bucks at least 40 bucks a piece and I understand that it's a little pricey for some of you guys so instead of that we got the little super chat going here and that's a way for you guys to you know donate just the tiniest amount if you guys are feeling in the mood but it's it's there you don't have to do it it's super appreciated if you do but I just figured I'd have to at least tell you guys I enabled that finally cuz to be honest with you guys I don't really know that much about YouTube it's been five years since I posted a video it's been far too long so I'm learning guys I'm learning how to make this thing better so hopefully stream by stream it'll get better and cooler and yeah the super chats a fun way for us to interact and like an extra-special way but yeah dude Justin Justin is in the chat guys justin is one of my very very good friends he's like I don't know anytime hang out Justin I just had the biggest smile on my face and like we're into the same games the same freaking humor the same goofy stuff we play Smash Bros together and he's incredible justin is like doing the last thing I saw Justin do was like some really cool like miniature stop-motion Dark Souls stuff and if you guys are a fan of Dark Souls you'd be very impressed by that video and Justin feel free to leave that link down in the this little description here I thought it was so cool but yeah guys we got it we got people from around the world here let's see Swank's tur norway ooh Dyan he's from India and sake I think I'm saying that right both both you guys for India Melanie from Finland mr. Charles you are from the Netherlands Kristoff hopefully the weather's nice in Mountain View California and miroslav from the Czech Republic where are you where are you guys from we got a whole lot of people from around the world I think it's freaking awesome but yeah you guys are you guys are great thank you thank you for joining this chat this livestream rather let's hop in let us hop in so let's see hopefully you guys yep see this little screen here and what I've done is just recorded a little bit of footage at my house with my a7r - and we're gonna track this thing and after-effects and it's like the easiest process guys here's the thing this is gonna be so easy it's gonna blow your mind and like this is what we did for the Boston Dynamics video if you guys haven't seen the math on dynamics video most time dynamics yeah so we did this video right and the robot is myself and a motion capture suit I modeled the robot textured the robot and this first shot right here is just a shot of Jake and Niko walking down the gun range right and I believe you know we use the couple programs for this right it was mostly I mean After Effects for compositing and cinema 4d for the modeling texturing rendering and I know Ren Ren is the track master he's also the compositing master and Ren when in doubt we'll switch to boo zoo and boo zoo is this crazy weird program whereas boo I know it yeah here it is it's this crazy old program that 3d tracks your footage in a very advanced way and when in doubt when after effects when the automated tracker doesn't work in After Effects I go to boos you and I do it in boos you and the program is built for tracking live-action footage and it has a lot of tools that After Effects doesn't have to you know assist you in things when things go wrong right but we're not gonna be talking about boos you today because no one has Buju I'm sure there's some free 3d match moving or tracking software around but the one that I use and use most often like you know for this right here pretty sure I just used after-effects the after-effects tracker and it's like the greatest thing ever so you can see here check this out like this is just an automated track and I even have a little zoom in there and it tracks it perfectly the perspective is correct there's no jiggle or warble it just works and you'll notice too that the raw footage it doesn't have any tracking markers either and you know let's say you're doing a little little video for a client or something and they're like well aren't you supposed to throw tracking markers down you know you got to have those little plus signs a little tape you know you make little plus signs and stick them everywhere right well yeah sometimes but most of the times not really because look look at all the tracking detail in here look at this carpet that's look at all the tracking detail that's a whole bunch look at the floor that's a bunch of tracking detail same for this little cat scratcher post that's this is all just glorious tracking detail that you don't need tracking markers because guess what if you were to put tracking markers in the scene you get the paint them out or you'd have to know oh yeah I'm gonna be putting um you know say like a little CG RC car right here and the RC car is gonna be on top of the tracking marker so I wouldn't have to paint out the tracking marker because I know that's gonna be an RC car on top of that you know that's if you have some insight going into your shot but what you should which you you certainly should but look at this guys you don't need to throw down tracking markers when in doubt this is a good this is another Ren tip here a pro Ren tip and he taught me that if you basically add an unsharp mask to your footage um let's see let's do a radius let's see is it radius 50 yeah if you do like a radius of like let's say for this shot 200 right you see how things start to get more contrasty if I were to turn this on and off come in here like on this carpet if I turn this on and off you see it adds contrast and detail like even the wood right here same deal that's basically saying hey look here's more tracking points for me to look at here's more high contrast areas for me to recognize as you know 3d space so you duplicate the unsharp mask two more times and you start to walk down your settings on the radius until you have something that looks pretty ugly right but the point is for tracking your adding contrast for tracking right that's before and it when you turn it off it kind of looks like there's like some like angelic effect on it but so it messes with your eyes a little bit but that's with it on and if you pre-comp your footage if you hit ctrl shift C you'll pre-comp your footage of this little window and you'll want to leave all the attributes in that folder you're basically putting it into a folder then you run your 3d tracker oh I'm sorry I got that wrong you're going to want to move all the attributes into the new composition and that moves all the effects like you're unsharp mask into that composition and once you have that then you can run the 3d tracker on top of your pre copier and just for you just for you guys who forget the ctrl shift C hotkey which you know learn learn those hotkeys because that's how you can start blazing through these programs but if you go up to layer and at the bottom you got precompose and that'll just put it into a folder so I didn't even need to add the unsharp mask to track this footage it just worked so I'll do it with you guys let's delete it and we got our raw footage here alright all you need to do is go to well there's a couple ways to do this right because it's another thing we learned is there's like a million ways to do you know one thing which can be confusing at times but also it's it's great you know it adds a little bit to the character you know of how you go about your VFX but let's let's add this tracker and then let's answer some questions in the chat here so basically if you have VC console which is free you just hit control space and that is your effects bar that you're gonna search right here right it's literally the greatest plug-in ever it's from Video Copilot called VC console you hit control space and you search camera tracker and you add it and it'll it'll start going automatically another way of doing that is to select your footage go to effect and go to where would it be guys where would it be where were the was it who I have never used this effects window here this drop down in probably like five years so it's in here somewhere guys you just have to find it or you could select your footage and you could let's see in After Effects you have different like window setups so that's up top here you can go to effects and that should bring up the effects and presets tab right here and in the effects and presets tab you could also type in what you're looking for camera 3d camera tracker that's what you want it's under perspective so it's like your footage go to effect go down to perspective and hit the 3d camera tracker and it's just gonna start going now this is a special case right because you saw that I had a little zoom at the end of the footage so you need to tell the 3d tracker that there's a zoom in there so under shot type you're gonna want to click that little drop-down box and click variable zoom and that just tells the tracker that hey I'm not just looking at a fixed focal distance here I'm looking I'm looking at something that is actually you know zooming in a little bit and it's just gonna do a more accurate job of solving this problem usually I'll hit this little drop down here the advanced drop-down and I'll check the detailed analysis box and that's just like insurance for me to know that you know I did everything I could I put in all my chips on this you know that little check box so that's gonna go you'll see you'll see it doing its little Deeley up here we got four minutes left so while that's going let's let's answer some questions if you guys have any questions any any comments or concerns but let's let's see what's going down Eric B says before we start what are some tips for B for being a beginner because I need to make something for a school project and I'm pretty stressed about it okay well Eric I mean okay so tips on being a beginner and you're doing a school project that you're stressed about we're talking about the effects are you talking about like writing a report because those are those are two different things you know if we're getting into the technical details of it but if you want to talk generally which I think apply to both um I would say anytime I do something that seems big or seems challenging right out the gates what I'll do is first I'll stress out about it and then I'll procrastinate a bit and then eventually I come on Clint get it in here let's do this thing and you know you basically just have to start biting off little pieces at a time yeah you know you're not gonna be able to run a full marathon just right out the gates you're gonna have to bite off little pieces and practice for it right so what puts me at ease is hopping into a project that seems daunting just putting in an hour a day or an hour an evening or an hour in the morning and I'll chip away at it like my website right I knew I wanted to sell prints and I knew I wanted to have a place that I could you know post all my photography work that wasn't Instagram and it was very daunting for me because I had never made a website before and I was like well what do I do and you know after stressing out about it and freaked and not really knowing what to do I was just like you know what I'll just dedicate an hour of my time this morning to google searching what how to make a website and that eventually led me down to you know the next day where I spent the next hour and I had a little bit more information from the first day so just baby steps bite off small pieces work at it every day because if you don't work at it every day eventually you get to the point where it's due and now you're really stressed out but they would use Google man Google's the best it will answer lots of questions you may have all right we got Michael from Germany welcome Brody from Canada I'm a big Canada fan I've been there a few times I really love it welcome I came from Russia Thank You Mendo studios from Nigeria dude this is awesome you guys were everywhere lived in Burbank case in two to eight lived in Burbank for a bit working in film but moved to Florida welcome Rob out from Dutch Caribbean welcome you guys are awesome Zorin Prince come on great stock details are preserved really well so you really get a sequence work yay thank you I'm glad you enjoyed your print that's awesome I hope you enjoyed the music recommendations as well so on toast from India we got someone Zorin from Virginia spill grouping from Sweden this is awesome guys Sven from Germany man this is this is awesome what an international group we got here this is so cool I love freakin love traveling and I know Justin does too and we get down on traveling and Justin literally has the size of this Walt like his whole wall is just a freaking map of the world it's so cool and he just got back from a trip from somewhere and I was about to go somewhere and we were like showing like plotting our courses and stuff it was super cool but yeah I love traveling so much and my dream is to travel and travel the world and make it out to a new country every single year so hopefully I'll be coming to all those places but damn guys you got leave it a lot of comments this is awesome hey Clint how's it going it's great it's going really well um Seamus thanks for asking um can't okay so case in two - wait a scamp boosting the contrast also increase the noise which can throw off the track um not really maybe that's a really dark scene and your noise is really high potentially yeah but what's cool with the unsharp mask is that you can tweak the settings and tell it to add contrast to a larger area that's when you increase the radius as opposed to tiny areas and yeah I might it might increase a little bit of noise but that's never been an issue for me ever you know and and I haven't even tried to track night footage and unsharp mask on night footage but you know I I really don't think it's that big of a deal um let's see what else what else I'm trying to reel these comments are so many I really appreciate you guys does After Effects require information about the camera to do 3d tracking it does not but you know like I said about that zoom technically yeah that's that's information about that's not information about the camera it's information about the shot you can add let's see you can specify it you specify your angle of view and if you shot at a 24 you can say I shot it at a 24 and I think that that will always help the program to you know solve the problem solve the track a little bit better but yeah most of the time it's not really needed this this thing works really fast and it's pretty strong um all right all right all right so you guys are awesome thank you so much for for leaving these comments here hopefully we are 90 for you guys it's freaking sick we're gonna SiC let's get back to it guys keep the comments coming I'll come back to him in a minute but let's let's keep jumping in here so we tractor scene boat it looks the same right how do we know we did anything so go ahead and click this 3d camera tracker tab up here and still nothing happens where's our data where's our track we'll try clicking this button right here the toggle mask and shape path visibility and there you go that's gonna show you all the little points of your track here and if you want to make this little bit bigger you can go to the track point size not so those guys at the 200 and now you're seeing like they're changing all over the place but that's okay it looks like we got a lot of tracking points so that's a nice juicy shot right here we tracked it it works really well average error right here says 2.5 pixels that's that's not bad I think don't really know what that means but 2.5 pixels is 2.05 pixels is probably pretty good because this is a 4k shot and that's a lot of pixels so one of my favorite shortcuts is ctrl shift H and that hides all the crap on your screen and brings it up when you need it so I'll be using that a lot alright so you're gonna click the 3d camera tracker effect up here and that's going to bring up your little your little track points and what we're gonna what we want to do is make a 3d camera let's pretend those don't exist we want to make a 3d camera and we want to put down a null object or a plane right here on the ground because we're gonna go in to see 4d after this and you know put put something in there so let's select a few points here I'm gonna click one over here hold down ctrl click one over here still holding ctrl I'll click one in the far corner and then I'll do another one over here so I'm covering a large area and I know that I want to put something right in the middle of that so what I'll do is I'll right-click and you have some options here you can create text in a camera right so you can come in here and say hello and it's gonna be tracked in you can select those points again all right and you can make a solid for example instead of text you can make a solid and that solid is gonna be laid flat on the ground right there and I'll actually hit R I'm sorry not R I'm gonna hit W and W brings up a rotation tool and that's up here in the top left and we'll rotate on the z axis so that our let's see our Z plane which is forward and back right lines up with this wall here and you can see on the right it kind of lines up with the couch in this litter box too so I'm gonna hit R and then I'll bring up your rotation settings for the layer down below in the layers window and if you hold ctrl while clicking and moving some of these numbers down here basically what you're doing is you're kind of like it's like when you play an FPS and you have like the what is it like the the aim-assist and it slows down the sensitivity of your move your mouse it's like that when you hold ctrl those real small numbers stay real small numbers so you can have a lot of control but let's say you want to max it out right and you're trying to just friggin spin this thing all crazy doing it normally would get you this you know but if you really want to go to town you hold shift and that is the opposite of holding control it goes way faster and this is really handy for when like you have something like a 3d layer we're just way far out in 3d space and these numbers are cranked to like thousands and thousands right that would be will be helpful holding shift but in our case we can hold ctrl to really dial in the rotation there and this is looking good to me and how do we know if it was a good track well another thing I learned from Ren was basically what you're gonna do here is give it a effect and the grid effect will just give you a transparent grid that you can preview your shot with and really look at all the points and angles to see if this thing is tracked properly so grid where would the grid be it'd be under generate so if you go to effect and generate where's generate where are you generate Oh Mike this is so embarrassing guys I don't use this window generate there you are and you can go down to grid and adds a grid let's take the border up to like 25 so we can really see what's going on make sure you guys save your work my goodness save your work save your work let's do a little preview answer some questions here how's everybody doing what films by looking forward to this year Christopher Nolan's new film I'm actually really excited for that I hadn't seen a trailer but I like to keep it that way I like to be surprised not know what I'm getting into um I don't know as David Fincher making a movie this year I hope so he's one of my favorite directors other than that like I don't know man like not really an Avengers fan or Marvel or superhero fans so I can't say I'm looking forward to any of those David welcome better late than never dude do you measure your scene for match moving work or do you have to find other ways to scale so what he's asking what David's asking is uh do you have to bust out the measuring tape you know and usually no we don't do that but for Boston Dynamics we did so basically for the first one let's see if I can pull up the first one here what we did was we measured this room here this loading dock and Ren actually Ren measured the whole thing and Ren modeled this loading dock in 3d so it was actually like perfectly accurate down to the inch right and the reason we did that is because we knew we had to track the scene to add the robot in right so the way to test your track and the way to make sure that the robot is actually being lit properly too is to put it in this room right and you see there's a little light up here we had to add that light as well right there's a light up here so we had to add that light as well and it was very important that we modeled this room down to the exact measurements because one for lighting and two for camera tracking we had to make sure that our track was perfect and we would reference it we would essentially like put it up against the the footage with the the CG room and if the two of those lined up perfectly then we knew we were set but in this case no I'm not I don't need to bust out any measurements or anything you know it's just it's just working it's working nice and good that zoom is great so once you have this once you guys have your track right all you need to do and I'm going into cinema 4d you can do this for for blender or 3ds max but basically I'm gonna export this camera data into cinema 4d so let me open up cinema real quick Ryan welcome welcome welcome Topher tell Ryan I said hey alright I'll make sure to do that I made his 3d mograph title thousand ways to kill a noob do that was a long time ago heck yeah that's great Oh a new Pixar movie oh man Pixar is literally the best the absolute best they are the kings of story I'm amped for that and heck yeah super amped for that alright let's see let us see how do I feel about Joshua asks how I feel about 1917 winning best VFX sure yeah they worked really hard on it I thought it was an awesome movie too ok so luckily for those of us using After Effects and cinema 4d cinema 4d and After Effects communicate really well together so all you need to do and this is this is pretty nuts all you need to do is go to file export Maxon cinema 4d exporter and let's see it's it's basically saying 2d layers will not be found such as the footage hit OK and let's save that let's save that where do you want to save that does it matter of course it matters guys because you gotta stay organized all righty so we open up c4d boom we're in and how do we import it well you're gonna go file open and you're going to navigate to the folder that you just saved that aftereffects export and you're gonna open it and would you look at this all right what's happening what's happening let's it's all crazy right now so let's zoom out and see what the heck is going on let's make a cube look okay God our scale is off the charts guys actually no not not as bad as I thought but it's still off the charts if we look at this camera hit shift f3 it'll bring up your like tracking or your animation window and see for D and we'll see we got keyframes here for our camera and that's a great sign that means cameras should be moving but it's not moving why is it not moving why is our camera not moving let's zoom in here see if it's moving or no okay okay I know why okay it's because you see we have frame zero right here and we're going to frame you know one ninety or so that's where the keyframes are down here and our little a little timeline we're at frame thirty three hundred thirty eight thousand so that's that's not chill let's go to our render settings up here and let's set that range from zero to one ninety right because I think that's what we're looking at and does that update this down here no it does not let's type it in manually zero to one ninety and we'll stretch this out and there you go wow that's a crazy looking motion path okay yeah it's because our it's because our um our scale and everything is off but we're gonna fix that we're gonna we're gonna get that going okay so if I were to select this plane here and cinema hold down control and click the cube up here we'll just spawn a little cube and you know what for the sake of scale let's spawn a dude instead so I'm holding down control and letting go on figure our axes are all off let's stand him up hitting are holding down shift snapping him to 90 degrees and the reason I use a guy is because this this dude right here this little mannequin is already 1.8 meters tall which is basically 5 9 it's just a normal average human height here so if we hop into our camera and we play we can see it's moving right but that's a real tiny person so our skip we know our scale is off so here's what we'll do let's save this scene and it's saying it's an older version sure saving it as the new version let's bring in our footage into cinema 4d because we're gonna need to start referencing the footage so I'm just going to double click down here and we need to go back to After Effects solo our footage layer and you can basically what we're going to want to do is export a JPEG sequence that we can import into cinema 4d so I'm hitting ctrl shift I believe that is /yeah the one the one with the question mark on it that brings it into the render queue and I already have a little preset here for JPEG sequence and I'm going to drop that into a folder called tracking so let's do that and save that so what that goes how's everybody doing hopefully everyone is good is everyone following along do you guys have After Effects in c40 or are you guys following along with like blender and After Effects right now alright Brisky asks how do you get big on making VFX videos because I've been trying to get noticed I made an Instagram and everything and I feel like I'm not going anywhere totally totally that is something that all of us have felt and I'd say first off just make sure that what you're doing you're passionate about and make sure you do it consistently especially if your start if you're trying to make it like a business make sure you're doing it because you're passionate about it and because you actually enjoy what you're doing and then that will be the driver for doing it every day and you know people if you guys don't know people but look him up on Instagram it's people underscore crap as his name and he posts a new render using cinema 4d and octane every single day and you know how long he's been doing it for he's been doing it for 11 years every single day has not missed the day 11 years despite having a job now this is his full-time job now he travels the world doing this but people didn't know about people until like last year like 2 or 3 years ago so it took people like 9 years to get to that level and the only reason you know oh I can't say the only reason but it's because he was passionate about it that's what that's what drove him to continue doing it so Brisky I would say keep it just keep it up make sure that you're you're learning and you can't rush things you cannot rush things all of us are very used to getting what we want basically as fast as possible we're very used to immediate gratification with the internet with Amazon with social media everything we have is literally at our fingertips right but when you're trying to get good at something it's not that easy it takes a lot lot lot longer and more reason for you to just be patient with it because let's say let's say you give up right because not because it was hard but because you know you were down about it not being successful then what does that mean for the future you know are you going would you give up every time you try something and it doesn't work the first you know I don't know how long you've been doing this I'm just using this as a general example you know let's say you give up on this you go to another thing you give up on that you go to another thing give up on that but what if you were to just stick to the first thing and you were to just you know do it for years right eventually it's gonna pop off like the Joe Rogan podcast he said he was doing that for ten years just cuz it was fun and he was talking with his buddies about it or talking with his buddies about you know different stuff and it didn't pop off until recently it's because he stuck with it and there's actually if you guys are down or interested in any sort of books on this kind of stuff something that I really really really loved and that helped me a lot and explain this idea of you get good at something right and then you plateau and then most people drop off and they give it up you know you get super into golf you get all the golf clubs you get a golf cart you get a freakin a Club membership and you sidon you're playing golf for like a few months right and then all of a sudden you're just like a golf you drop off right I mean that's fine that's fine but if you're really trying to get good at golf it's not fine because you fell off the map you have to be okay with plateauing and staying at this level and eventually you're going to see a little bit of that it might be a little bit but you're gonna see a little bit of that right and then eventually you're gonna plateau again and then you might see a little bit more and you're a plateau again for a while maybe for a year and then you're gonna see a little bit more and you're a plateau and you're gonna keep rising and rising and rising but it's gonna be slow and it's gonna be over a long period of time just know that that's normal that's super okay and it is the only way to get good at something is to stick to it and be persistent so the book is called mastery I'll pull it up for you and it's a short read not the book by Robert Greene or we know is it the book way hold on there's two minute there's two books called mastery just on Amazon here two seconds sorry guys mastery look ok yeah bye George Leonard mastery by George Leonard that's GE ou R GE le o ei na Rd George Leonard mastery the keys of to success and long-term fulfillment that's a good one it is a really good one it can be applied to literally everything so don't get down stick with it ok let's jump back in so we're in cinema we have our JPEG sequence exported let's open up that material that we just made and for those of you guys who are just joining we're basically adding cool 3d stuff into live-action footage right so we got the shot and we want to add some cool stuff to it right so we just tracked it in after-effects now we're in cinema 4d and we have our camera track here so how do we make sure the camera track lines up with the footage how do we check it right that's what we're doing now so I'm gonna double click down here in the little materials window double click on that and it's gonna be super simple basically what you want to do is drag your sorry I'm navigating to the folder here you're gonna drag your folder that has your jpg sequence in it you're gonna drag that into the little texture bar here totally didn't work let's try that again you're gonna drag the first image of your jpg sequence into that texture bar right there and hit no and automatically I believe it pulls it up as a JPEG sequence but let's click this image here and in this image you want to make sure it's using all those frames so up here in the animation tab you're gonna calculate boom it just calculated all your frames frame three and thirty thousand two three hundred and thirty thousand something something the reason those numbers are so large is because in After Effects if we go to composition settings by hitting control K you can see your start is at 338,000 160 not chill usually you'd set it to zero and that's that's usually how it's gonna be if you ever see this number and the far left as like some astronomical number just go to composition settings you can go to composition and I believe it is where's composition settings oh it's the second option under composition control K learn your shortcuts control K set that start frame is zero and this number should be at zero if it looks like this then all I have to do is hold ctrl and click it and it'll switch between frames and timecode so that's why that number is nuts we shot it at a frame rate of 24 so so far cinema 4d has done a great job of doing you know a lot of the manual work for us so what do we need to do next we need to get that background plate onto the background of our scene so we'll do that by making a background you can hold down this little floor object here and let go on background drag and drop that material that you just made onto the background and oh my good oh my goodness it's on the background guys but it's not animating why is it not animating dang it well that's an easy fix it's a super easy fix all you need to do and by the way guys look at this you see how these objects don't look like they're stuck to the footage well I'm getting ahead of ourselves let's make sure the background is animated double click the material the material you just made go down to editor right down here editor and check animate preview and when you do that then and only then will the background start catching up right with you and it's a little choppy alright that's just how it is so you don't have to export full 4k JPEG sequences all you got to do is maybe like a you know 720p or something it's gonna be less taxing on your system and you know what just for the sake of it I'm going to do that so I'm gonna add it to render queue again it's like JPEG sequence from I'm gonna hit the little best settings option and change it from quality best where you see the size here I'm sorry I'm gonna change the resolution from full to quarter and you'll see we'll do 960 by 540 and I'll hit OK and we will select the path it's going to and hit render and that's gonna go give it a second alright hopefully everyone's falling we got 89 people in here this is great doing awesome ok so that just went I'm gonna update this give me two shakes let's see [Music] alright double click this and it should it should just update there might be like a refresh thing on here reload image let's clear it let's just clear it entirely and drop it on there again because doing things twice is kind of the way to learn these this stuff you do it once you're gonna forget do it twice you might just remember for the next time you do it see there you go it goes from 0 to 186 not 338,000 and now look at that guys look at that we can scrub now in our little tiny guy is stuck to the footage that's awesome let's get rid of the cube so our little tiny dude is there that is awesome it works works flawlessly so let's um we still need to orient this a little bit because we're gonna light this thing right when you want to light it with a Sun or an HDR eye and if we go out of camera view here by checking this little box I'm gonna hide the background for a second just so we can see what's going on I'll go to filter and check the grid on and you guys can see that the camera is starting like just flat pointed straight out to the horizon which is not the case if we look at our footage we can guesstimate that I am angled down at the ground so that's how the camera should start angled down at the ground and I'm also not this keep in mind guys this dude is two meters tall okay right so that means there's probably like 40 meters between this object on the floor and this camera right and that's certainly not the case there's probably three meters tops between me holding the camera and this little sunspot so getting your scale right in your 3d program is a huge thing to get right because light acts differently depending on how big something is you're gonna get more light bounces right it's just more accurate you the more accurate you can get this the better so let's solve this problem here okay alright the horizon we want to get our horizon down so let's put some things into a folder here the background can stay out of our folder but let's put our camera in a folder let's put this plane in a folder and let's actually make a plane that you know makes sense for how big these things are so I'm gonna just put this dude on a on an airplane on a plane and this plane is 4 meters let's see for me by four meters I believe it's a really cool tip here in in cinema that my buddy Spencer told me about was if you type one meter it will convert it for you if you want it to be five inches it will convert it for you so freaking cool blew my mind so let's say we want him on a 1 meter tab by 1 meter little stand here our dude is let's see is that right what does that seem tiny if I make a cube make a cube and say the cube is one meter by one meter by one meter yeah no that's that's right yeah it's just shy of 2 meters so he's on a 1 meter little box here 3 feet right by 3 feet so we have him we have the plane and we have the camera all in a null object right here we'll just call this scene yeah we'll call that scene and we're going to rotate we're going to want to rotate our scene until it matches a reasonable size here so let's see if we scale this down we hit T and scale it down and then hit play it should see yeah it should scale with the footage here yeah all right so this guy we know one thing right what do we know we know that this guy needs to be on the ground it needs to be flat on the ground so let's see here we're going to want to rotate this dude around right so we'll go into our side view and we'll just get it so that the plane is like flat on the ground and the reason I'm not moving the anchor point to the guy is because I don't think it would work I had something to do with the keyframes in the camera it won't let you do it I don't think so yeah you see how it moves the camera when I do that actually what is that that big of a deal yeah you see it moved the camera but yeah we can't do that because as soon as you move the camera it screws up the whole track so that's why I'm not moving the anchor point and rotating it around that guy it just has to be done from from here unfortunately so we're gonna zoom in and line it up so that this is flat and he's on the ground and you already you can see the camera is coming at it from that higher angle which is totally what we want so I'm just gonna make sure he's flat from all sides needs to be angled a little bit more like this awesome and here yeah that looks good so it looks like he is now officially standing on flat ground fantastic let's see if we can get him on the origin so I'm hitting W and that's switching between local and world orientation and we've talked about that a few times on the last last couple streams and this is very important right for this because we want to just move this whole scene that we have right together as one so let's go up to our top view and we want to move it so our dude is right at the origin right there okay check and he's a little tall so I'm gonna move it down go to our side view and make sure that he is sitting right there boom right in the origin so when we go to our camera view you know we're right over top this dude and we'll toggle our background back on and you can see now you can see our grid is more appropriate to our scene and we'll even rotate it right so we'll rotate the scene here so that our grid kind of matches up with the flooring right and everything then you want to try and get these lines to go the right way and that that makes sense to me right it's a little off it's a little off you know like you probably want to rotate it like that so you can get your that feels better but you see once we did that and we go out of camera view we hide our background we come in here and you can you'll see that a the dude is kind of like rotated a little bit again so for that I think what we'll do is let's see probably just rotate them back but you get you guys get the idea right you say this is getting closer I'm just trying to line up the grid with these wood slats here that feels right so now the only thing that we have to get right is the scale this guy is 2 meters tall so the scale is astronomical right now if you select your scene let's just start scaling this thing down we hit T and we'll go to local view I believe or a world but I think what do we think what do we think I'll hide the background yeah we'll go a world view right or world orientation go back into our camera turn on our background and hopefully if we're doing this right we should see this guy get larger so let's see let's actually move the plane and the figure outside of this scene we just want to scale down the camera so we'll hit T and we'll start scaling and sure enough this guy is getting bigger so I'm gonna scale this down way down way down and let's see if we can't move the figure back in place in view of oh let's try that one more time scaling it down okay for some reason so let me scale when I scale it from the viewport like this and I hit play it snaps back to the original position one way to get one way to get around that is go to your scene and you actually have to type in the scale here so let's let's take it from let's just make it a tenth of the size so point one point one point one and now when you hit play yeah it it stays so let's see if we got that right let's move this figure back in place and how do we know when he's on the ground right cuz he could be floating at any certain point here so let's see let's go out of our camera view and let's put him actually on the ground and this is kind of you guys can see how this is kind of like a give and take situation where everything moves together so we'll put the dude back in the folder with the camera and we'll move this back up to the ground level here right so right about there and we'll go back in the camera view and now okay so now you can see he's a little bit he's a he's a lot bit taller actually but our camera track is off why is our camera track off things are slipping now you guys see that see how things are slippin and slidin that's no good so let's try setting this back to 1 and things are still slippin and slidin what happened hmm problem solving this is the best part of VFX I'm gonna need to bust out the chips and the hummus for this one Oh what up see Mike dude see Mike's up in here everyone say hello to Carmichael Carmichael man hope you're doing well I guess see Mike left he's touring a 400 year old coffee farm very cool all right so someone's got a Japanese name in the chat here currently I'm learning Japanese so this is very exciting for me looks like it says da Donna I don't know something maybe that's not now I'm learning my katakana my hiragana you know I'm working at it it's like one of my favorite countries ever all right let's hop back in guys you know what let me get some music going here just for me though cuz I can't monetize these things without the music let's see um what do you want to jam out to today I'm gonna do that ambient playlist most of you guys know I got that ambient from VFX playlist it's in the description of this video here little Spotify action for you guys [Music] sweet all right we're in what's up Jason my days been well I woke up I ran two miles guys I'm training for a half marathon right now I'm very excited for that but yeah I got my run in and I'm doing VFX guys we're trying to solve this problem why why is our track off now look at our track it's slipping and sliding all over the place what happened guys we had it we had it when in doubt undo a few times y'all when in doubt just undo a few times let's go back maybe it's sliding here too I think it is I think it's actually sliding yeah okay so maybe this is something in after-effects where we need to normalize our scene and man Ren is so good at this I need this is when you need Ren on the stream to help out and Natalie what's up Natalie how's it going man everyone's joining in this is awesome thank you guys I really appreciate you guys manually we're trying to troubleshoot a little 3d track situation here so it's looking pretty good here in after-effects but as soon as I bring it in a C for D it appears to be working but I think there's some slippin and or sliding going on here with the track so I could cheat I could cheat you know and just track this in cinema 4d and it's like the easiest thing ever it's extra easy and I might do that you know I might just do that but let's just give this another 5 minutes and if we can't figure it out in five minutes we'll track it and see 4d so here's what I'm gonna do I'm gonna do the surefire method here I'm going to add those on sharp masks to this footage okay and we're gonna get this thing nice and contrast II so there's a lot of detail to track here okay I'm gonna pre-comp this control shift see and move all attributes into the new composition great I'm going to add the 3d camera tracker I'm gonna tell it it's a variable zoom because we are zooming in I'm gonna check that Advanced tab the detailed analysis tab because you know why not and we are going to say this is a mostly flat scene that's what we'll say it's a mostly flat scene so we're gonna give it as much info as possible and uh Sharif or sheriff sweet name you actually there's a little bit of a framerate you bring up frame rate okay so this frame rate here is 23 976 and I'm looking at that through the composition settings hit control K to bring that up 23 9 9 7 6 now unfortunately cinema 4d doesn't do 29 or 23 976 it only does 24 so if you control D you can see your project settings and your FPS is sure enough 24 and if I try and hit 23 976 it will not do that it'll just go to 23 usually in the past that has not been an issue for me but let's let's give this another shot here it's going along here we got 2 more minutes on this thing okay Tyler man asks what's the glove you wear and what's the green thing on my ears so the glove which I don't have on right now but the glove allows me to glide across my tablet here easily right so I use a Wacom tablet and the glove allows me to like you know very easily slide across the surface of this thing you know if I'm sweaty for whatever reason it's gonna stick and be gross it just keeps your natural oils off of this thing all right so it's easier to navigate that's what the gloves for I currently at the moment cannot find it it's probably in a pant pocket somewhere and the green things around my ears these are bone phones or that's what I call them but they're tricks err bone conduction headphones and they're the coolest things ever because you put them over your ear like so and they don't go in your ear like that they go just right outside so you can still hear but you also have awesome music going at the same time and I use that when I run I'll use that when I walk go on hikes I'll use it at work I'll use it on set I'll use it I have them all the time and it's a way to just kind of add a little soundtrack to your life you know so these are like basically the greatest things ever I love him so so much I need the questions you guys MC j for w ry i don't know i don't know how to pronounce that name he asks or she asks have any of you at corridor ever touched nuke for compositing we have not I really want to very bad very badly it is very expensive though so not yet that expensive touch yes the glove is broken on training that is true dude Pablo the sound quality is super nice on these things and I actually just came out with another model that are even better believe it or not they're even better it's crazy alright so the camera is solving we have a track here hopefully yep I'm going to select the little areas these little four points right click we're gonna add solid down delete the old stuff so that's our solid we're gonna rotate it a little bit and I want to figure out a way in after-effects to zero out the scene so if I create a new solid and make it 3d I want it to be able to just appear in the middle which it actually looks like it does you know it's something that is zero zero zero whereas here the position is it's off right it's some it's some other numbers and I know there's a tutorial out there somewhere on how to do that I just don't we don't have the time right now but okay we have our we have our solid here right and I'm just gonna go ahead and say let's move forward with this I'm not even gonna test it so let's um let's export this file export Maxon cinema4d exporter okay I'll call this camera track two will go into C 40 will make a new scene we'll open that and there we go we got our camera track let's see if we can't just flatten this out so we want to rotate this scene right so that this ground plane is actually the ground plane something like that and then we'll just drop it down on the ground right about there we'll add a dude and okay it looks normal but you know it really comes down to this where we throw in our background here so I'll drop that in I'll hit no I'll come in here I'll go to the animation tab calculate that go to editor check animate preview and this is the third time we're doing this so we're learning even more or in graining all this stuff we're gonna make a background let's do that click little floor tab at the background drop your material onto there and let's hide the plane for a second and let's just see if this is working it looks to be working yes it looks to be working sweet okay now the scale is still off right so how do we solve that hopefully we should just start scaling this thing down and it would work let us hide the background again and let's see let's scale everything scale the scene down ok so that doesn't work let's type the numbers in manually all right and then let's just move this thing back into place here all right there you go guys I think it works so the unsharp mask helped with the track a little bit more give it more stuff track I think it made it a bit more accurate we got this model standing in here I think it's a little big so I'm just gonna take our scene and bring it back up to 0.1 I think that's a bit more accurate and I'm going to just Center that up for the last time and we'll move on we will move on is everybody following along this is make sense to everybody dude what the heck what the heck it's sliding again why why is it sliding oh man why y'all this is this is this is it man this is this is VFX for ya this is VFX for you guys problem solving I'm gonna say screw it for this because this is tract and it's close enough all you just we just need to adjust our scale by a little bit so let's let's move on so let's um let's start with something really really basic let's start with just like a sphere okay we'll start with the sphere and we'll scale it down and we'll have it sit on the floor alright so let's see if the spheres radius is 20 centimeters that means if it's centered right there it needs to move up by 10 centimeters sorry 20 centimeters and now it'll be sitting on the floor let's hide this person and let's scrub forward and there is a ball sitting right there I'm gonna actually bring the radius of this thing down a little bit will make it more of like a soccer ball size so let's try 10 centimeters 12 centimeters and that means it needs to just come up by 12 centimeters so it's sitting on the ground and there you go there you have like a basketball on the ground right over these two light strips and that that's great because we'll comp in the light strips and we'll add the light to our scene so um let's do something let's uh let's take the segment's up 200 so the sphere is nice and round and we will render our scene here and this looks nothing like this ball sitting on this ground here so what we need to do what we need to do a couple things first off remember how in the last stream we talked about path tracing versus direct lighting okay in this case we're gonna want path tracing because you want these you want the light to come in through these windows and bounce around and give you the most realistic looking sphere you can possibly imagine right so let's let's change it to path tracing and we're gonna want to essentially say we want to render this out with a transparent background so to do that you're gonna want to go to your render settings up here and I totally lied you're gonna go to your octane settings because that's what we're using to render is octane today we'll go to octane settings and we'll scroll down just a little bit and we will check alpha channel and you can see already we're seeing our background and if you you're gonna also want to check keep environment so there you go you can see this gray blob sitting on top of the floor here now instead of a gray blob let's get something a lot cooler let's go to mega scans dot se oh this is awesome and what a great website they actually oh my god guys I think they updated their website oh my god guys they updated their website oh okay guys this is my favorite website of all time oh oh man so many assets so many cool things do we want to do a carat did we just wanted to like pile of carrots on the ground turnips and carrots just piles of turnips when turnips and carrots or do we want to do like I don't know pairs we can do gourds we do carrots and gourds what do you guys think we could do carrots gourds and pomegranates we can put an urn on the ground we can put up bucket an old an old wooden bucket on the ground I don't think it matters really I think it matters too much I could just spend hours on this website guys Oh an old wooden chest a cat see now we could do a cat but that would just take a little bit more time than we all have here today um a wooden barrel now that's a little tall for the camera angle we have cabbage any cabbage let's do a cabbage search cabbage yo we got cabbage trending assets yo this cabbage this cabbage is trending right here we can do the trending cabbage if you guys are down for that anything else a Buddha is Buddha booty an option do I spell that right [Music] sorry there's no Buddha reflective aspects ok reflective aspects would totally be sweet if we had an awesome HDRI image of my house which I do not have I'm sure we could fake it a little bit um you know what guys we're doing carrots carrots and cabbage one let's let's get this log in on the other screen so y'all don't steal my password that'd be that not be good at all okay carrot downloading carrot guys this is wonderful I'm so amped okay okay I'm so I am for this um let's see let's see let's save this to the right place cuz you gotta save it to the right place veggies vegetables um be organized guys be organized carrot boom got it what else cabbage cabbage will do cabbage - yes yes carrot cabbage boom okay so I'm gonna unpack these right and build out these assets real quick for you guys this is the best part guys we got the camera track done we're gonna get the lighting nice and then we're gonna add in these carrots and cabbage oh it's gonna be so nice it can be so nice okay new scene it's cabbage time oh it's cabbage time guys I lied it's carrot time guys look at that that's a carrot right there I carry it um okay let's build this thing out I'm gonna make a glossy material put it on our carrot I'm also going to make a little HDRI scene so that we can you know really just respect this carrot you know treat it right it needs to be treated right you know what am i saying I don't know what I'm saying it needs to be lit properly that's what I'm saying let's go in here and let's start building out dis current so we have our normal map our roughness map we have our ambient occlusion and we have our color map so we're gonna drop all those into octane we're gonna save our scene guys please save your work my goodness save your work guys and let's see let's see our normal map watched you guys watch this carrot transform watch this carrot transform look at the defuse okay that looks like something normal map you see how the ridges got all up in there but it's like still super glossy and weird-looking so you're gonna add that roughness to it dude that's a carrot look at that carrot that's nice for the sake of this will do will do one more carrot here cuz this pack comes is it weird that I can taste carrots I lied that it comes with one carrot guys it's just the one alright I'm sorry I got your hopes up let's let's get our cabbage going see what the cabbage looks like so will reading that rename that to carrot let's drop in our cabbage make sure you save your scene I'm on a roll now glossy material boom drag-and-drop render to the scene oh let's take our HDRI sky from our carrot and we'll put it on the cabbage render that path tracing looking nice let's hop in here and what do we want our roughness are normal are in our color those three as all we need so take a roughness drop that in there take our note or a normal map drop it in there and our color boom right in there so now we got our cabbage guys we got a carrot so let's drop them in the scene real quick I'm gonna show you guys a really cool trip trip what am I saying I'm going to show you guys a really cool trick and it's the fastest way to get a pile of cabbage and carrots go hopefully you guys are all good everyone go in the chat thumbs ups all around everyone's still in on this okay so I'm copying our cabbage we're going to tab over to camera track - this is the scene we're doing boom paste there's the cabbage let's grab the carrot because we're trying to eat healthy these days camera track - boom paste the carrot we got a carrot look at that and it's kind of to scale - that's the best part so let's do something soups awesome right now okay let's do something freakin sick right now here's what I want to do I want a pie just a pile of cabbage and carrots in the middle of the ground right here right now how do we do that well you can place them manually like a freaking loser or we can do it with physics so let's do it with physics let's get out of the camera and for whatever reason guys if you start moving the camera around here and it messes up your say actually it snaps right back that's beautiful okay no worries just make sure you're out of camera view hide your background because it's not chill to look at when you're just you know trying to enjoy yourself in 3d and then also let's take the camera and toggle the first little circle up here hit that once turns green hit it twice turns red and that hides it in the viewer so now we're just looking at the stuff we need to be looking at cleaning up the scene a little bit right so let's render this alright and we'll get the lighting in a second but let's build this pile of carrots and cabbage so I'm a pause that we don't need GPU okay here's how we do this we're going to go to mograph cloner right so now we have a cloner we're gonna drop our carrot and our cabbage into that cloner all right you can see how it's already starting to clone stuff go to the cloner and under mode change that to grid array now we have a grid of carrots and cabbage this is fantastic so what we're gonna want to do here is basically just drop a whole bunch of carrots and cabbage down into a pile and we'll do that by you know what let's go let's go honeycomb array just just cuz all right and it's way spread out so we need to bring our width down to like I don't know 50 centimeters 20 centimeters 15 centimeters and our height will be the same 15 centimeters so we have a wall of carrots and cabbage let's actually switch this back to grid array okay and let's just change everything to 15 15 15 we have this ball here let's go out 20 20 20 try 40 40 40 we don't want anything touching okay cuz that's gonna really mess up the physics simulation and just for clarity we have a ground here okay and that's the ground we're gonna be dropping it on too so let's take our cloner and move it up alright cuz we want the stuff to fall into place okay everything looks way too uniform so what we're gonna do is with your cloner selected go to mograph effector and use a random effector and the random effector is my favorite we talked about it on the modeling stream right when we were building that tank and adding the little little beams we wanted them to be a bit have a bit of randomness to them for this we're gonna uncheck position I think rotation is gonna be the main deal so we'll go 360 all around and I'm just tabbing down and that is looking sweet okay we can do position to 10 by 10 so things are moving around a little bit again we just want to be very careful that nothing is touching okay and you can see how this is inside of that when we when we hit the the physics simulation this is gonna just bowl up we don't want that okay so let's go five five five and it looks like everything is separate and not touching which is totally what we want so if you want more of a carrot - cabbage ratio all you need to do is go into your cloner here and we have two things right in the cloner we have a carrot and we have a cabbage and it is splitting it up 50/50 so there's the exact amount of cabbages for the exact amount of carrots now if you copy and paste the carrot and drop it into the cloner it's gonna give you basically for every one cabbage you'll get two carrots just like this and I wish there was a way to randomize the order of this and I bet there is but I let's see it might be like a step modifier or something it might be some other modifier - to randomize like how these things are placed in here maybe it's [Music] hmm I bet you there's a way clones random Oh is it that's probably it instead of iterate yeah it's just set to random let's add another cabbage and then like one more carrot that feels right so we this is a ball of veggies we're gonna drop on the floor here so let's save our scene guys let's save this thing and you guys are awesome all right we're in we're in okay let's drop this thing so the cloner right it needs it needs something we need to we need to toggle gravity we need to toggle physics here if I hit play nothing's happening that's okay so if you select a cloner right click it and go down to simulation tags now these simulation tags that's what is going to simulate your physics these things dropping at bouncing on the floor if you go to give it a rigid body tag and that's really all you're gonna need for this thing so the cloner has a rigid body tag let's hit play and see what happens nothing okay actually something it fell it fell but it fell through the ground and totally isn't what we're going for so what do we need to do well okay we have this floor let's actually make it a plane okay we'll make a plane and plane let's say play again same deal right same deal the simulation right it needs to know what's in play here you have things falling onto what you have things falling onto a ground and it's not recognizing the plane because it needs a tag just like our vegetables have a has a have a rigid body tag the plane also needs a Collider body and the collider is basically saying whatever has the collider body tag it knows okay anything with rigid body or soft body physics it's gonna bounce off of the collider bodies okay so at play and hope you know that that's kind of working right but not really like if they were glued together with invisible toothpicks this would be it this would be the vibe right but totally not the vibe it's it's basically the rigid body is just on the cloner but the cloner has all these other objects inside so how do we say a rigid body tag look at all the things inside of the cloner and that's very simple I have to do is select the rigid body tag and c40 and we'll go to collision and the inherent tag and the individual elements that's what we want okay so individual elements let's just set it to all and see what happens it worked but like there's they're they're bouncing all crazy and Stern around all weird so we need to fix that okay how we gonna do that inherent tag let's go ahead and tag let's let's actually try a little test you know let's turn individual elements to off inherent tag we'll set to apply tag to children which basically means we're gonna apply the rigid body tag to the children of the object that the rigid body tag is applied to in this case the carrots and cabbage and all that stuff so that's not working apply tag to children let's try it compound collision shapes what does that do same deal okay so we're gonna apply tag to the children and we're gonna set it to top-level okay that's that's working that's basically I think as far as gonna get with this so I think what we're gonna do here let's see is I think it's a physics issue right things are bouncing all over the place and like they're kind of jittery on the floor here so what I'd do to solve that is let's give these things zero bounce in a hundred friction which means they're basically gonna stick to whatever they hit okay but we're still having some some movement after the fact here so I think now what we need to do is up the iterations in c40 so I'm gonna hit control D and we're gonna go to dynamics the dynamics tab and we'll go to expert and it's basically saying okay we have five we have five checks per frame every frame that goes by there's like five instances where the gravity and the collisions are being checked let's up that to 15 and see if a more more of like an eagle-eye check instead of five times we're on fifteen checks to make sure things are nice and clean let's see what that does way better way better way better okay way better that's it guys that's that's really it we can go another level on this thing let's duplicate let's take our cloner okay let's stack it instead of count 3 on the Y let's go count six and let's open it up a little bit move it up a little bit and hit play again and now we have even more on the floor here I think that's great so we'll go into our camera and we'll hide our plane and we really we want to see if any of these carrots or cabbages like going through the wall or something right so let's just like huh that's that's great we have carrots and cabbage down here it's looking awesome but we have this one carrot this one cabbage that's going through the wall which isn't chill we definitely don't want that um Casey thank you I appreciate you man thanks for stopping by I'm glad that this is helping you guys out I really do thank you so much thank you so much glad we're all learning together spending time on our craft here and having a good time um let's see David but the effects can be achieved with other tools just got a problem solve yes problem solved that's really what it is decent amount of motion graphics tools are not available in After Effects cinema 4d Lite yeah so After Effects does come with C 40 light which is pretty sweet I've never used it to be honest um but yeah I mean we just got a you know problem solve and figure out other cool creative ways of doing so but let's let's do a thing here but we actually need to build out the geometry of our scene because if we're having physics happen here we have a wall right here right so we want to put that wall in because some of these carrots and cabbage might be hitting the wall and rolling up against the wall so how do we do that well let's get out of camera view real quick and let's create a cube move it over and let's go back into camera view and let's actually just see where this cube is landing here I'm gonna line it up with the carpet go to local orientation and it looks like let's see we'll bring the cube in and we know that the floor is colliding with the ground so we'll bring this cube up I'm gonna make it editable by hitting C I'm going to drop the anchor point to the bottom so we can have better control over this thing and I'm just putting it right on the ground there and hopefully if I move this back to the corner of the wall it looks a little far to be honest though yeah we want we want it to be lined up we want this cube to be lined up with the corner of that wall so where's our plane well just for the sake of visual for a visual check let's make this thing like a light green here and then we'll make the wall the wall can be white and let's make these things see-through so we can see where they're lining up if I select both the cube and the plane and hit x-ray you should be able to see through these things and let's turn on let's actually turn off the renderer let's turn on the background in our viewport and just see if like I'm going to turn off the cloner in the viewport as well let's turn a figure back on so we can see the feet and we basically want this corner to line up here with this wall and that's basically the only objects we need to add into the scene here because this wall is actually gonna help it's gonna like bounce the the cabbage and the carrots are gonna bounce off of that and actually that looks pretty great I just moved it up and it's lined up pretty nicely right there and the wall is gonna be white so I'll make this cube white as well so let's turn the renderer back on and let's turn off x-ray mode right so we have our like a room here will turn the figure off and we'll add the cloner back on and here's what you're gonna want to do here let's run the sim again and we have this wall in place okay I'm gonna turn off the octane view let's hit play and see what happens they're hitting the ground but the cabbage is rolling through the wall so what we're gonna want to do is give the wall a Collider body as well so I'm going to control drag the collider tag from the plane onto the wall so now the wall is in play things are bumping up against the wall so i'ma hit pause on this okay go into our camera view let's go real quick let's uh it's the best way to do this you know let's just let's just say screw it let's go to the cloner the rigid body tag and we're gonna freeze the position of these the cabbage and the carrots here okay that's the whole reason we're doing the dynamics here is to just freeze them and get a natural-looking spill on the ground so what I'll do is in the rigid body tag we'll go to cache no we'll go to dynamics and we'll hit set initial state so when you go to frame zero that's the initial starting state and then hopefully if we what's the best way to do this if we delete the rigid body tag boom okay that's not our answer if we go to cache and we bake the object it's going to essentially bake the simulation okay and then if we delete the tag then no that doesn't work okay basically I'm just trying to get this shape okay so maybe what we need to do is select the cloner and select all the objects inside right-click go to connect objects and that that work no that didn't really work huh okay let's see we know that this first frame is our initial state frame one okay why did that not work well it's because it's baked let's clear all caches go to frame 1 setting the initial state when we hit play they're just kind of chilling there on the ground and I just I just want them to be still here so hmm well at the end of the day we're gonna to render this out regardless right we should probably get rendering pretty soon all right let's hop into our camera view let's render our scene and instead of these walls right here let's have it just be our footage so what we need to do is make them shadow catchers so basically you're making the ground in the wall transparent so we will make a new material a diffuse material okay you're gonna drag and drop that onto the floor onto the wall double-click that and let's see here we'll go to common and we'll check the shadow capture box and there you can see these vegetables and these carrots and the cabbage are in the scene with shadows and everything looking pretty nice but they don't look realistic that's because the lighting is not right we need to nail the lighting here so how are we gonna do that guys it's gonna be easy I promise okay so basically we need to build out the house very quickly and light it with like a sunlight okay so we're gonna hop out of camera view zoom out here and let's take our plane here and since I know what my house looks like basically gonna stretch this floor out this wall becomes a wall over here I'm gonna duplicate it again holding ctrl and holding shift I'm gonna make this back wall here okay it's probably around there is where the refrigerator is and there's another wall back here and then I'll make a cube and bring this in like this okay that is very important we do this okay we're gonna duplicate that again and we're gonna make my monitor technically there's two monitors like this and technically it's kind of like it's kind of like that and then I am streaming from this position like so and but just imagine I'm in a chair okay so that's where I am streaming right now and this is where the footage was shot like back over here okay and there's a window here you know there's actually a few windows so I'm looking at the house here and I'm seeing there's a window one two three and there's some windows all around right so let's uh let's make these windows real quick with a boo-boo lien or a or a bool object okay so I'm just roughing this in and this is really gonna help like the more accurate you get this the better and this is where you know maybe measurements and dimensions come into play right because it's the most accurate version when it's the most you know closest to real life window size right it's gonna match it perfectly so I'm just guesstimating this guy's probably getting a window about about yay up here I'm gonna get these walls right okay the walls are gonna make a bit more sense here let's see the window is about probably there we have another window which is at the front door something like this and this all of this whole process is to get the lighting right okay we have another window in the corner about like that on the other side of the room we have a door like this and you don't have to you don't have to model this stuff like exactly right you don't have to add your bevels and all this and we got another window here a small one like this next to that we have a little bit larger and then on the other side we have a window like that that's that window right behind me yeah is this window right here as you can see by this perfect reenactment that we have set up here okay so that's about that it needs a roof okay because it technically is an interior scene so let's take these cubes one two three four and group them together and we want to put them in a bool modifier here a little object and let's take all these cubes all these windows we made one two three four five six seven windows will group those windows together and basically we're gonna say our room which is a- our windows which are be alright and we'll say it's one object create single object hide new edges and our let's see our our windows aren't thick enough so i just need to come through all these little windows here and just kind of open them up a little bit so that they're punching through the entire wall so this is going to be on just 3d tracking and dropping in objects this is making them look realistic because that's the biggest thing you can add your sphere you can add whatever to your scene but it's not gonna look realistic unless you light it properly I'm gonna continue and make sure the floor is correct I'm gonna take these walls these walls I'm gonna move up because technically the roof goes up the ceiling goes up there and I have a like arched kind of like an arched ceiling but for the sake of this tutorial I'm not gonna do that I'm gonna just put a cube come on I'm just gonna put a cube as the ceiling here a little topper cover this up all right and it also needs the same shadow catcher no I lied doesn't need the shadow catcher but what we do need is we need to color these walls the right color because it's actually reflecting you want the cabbage and everything to be reflecting the right stuff so let's continue we need to let's light this thing first all right so it's very dim right now because the scene isn't really being lit so I'm gonna pop out of there and let's hide some walls here so we can see what's going on see here boom and we'll hide the ceiling and I'm just gonna renaming this stuff so I know what's going on okay this wall I know this wall right here needs to scoot over because the sunlight is coming through that window and we don't want to block it where the heck there it is all right so the Morning Sun is coming through about this angle so let's make a Sun octane sunlight and well basically where this line is the Sun is pointing in that direction so the Sun is shooting straight up through the ground we want it to go the other way so it's noon I'm gonna better position the roof here yep okay so let's better position the Sun let's hide our background so we can see what we're doing we'll take the floor and move it across this way um where's the Sun here we go here we go yeah so the Sun is kind of shining through these windows here okay it looks really ugly definitely not the vibe we're going for here so maybe instead of okay why is this the Sun is coming through like there's no walls then I think it's because of our shadow catcher we have things that our shadow catchers that should not be shadow catchers so let me see what it looks like if we take the shadow catcher off I'm gonna come out of camera view here slide into our scene hide the grid for seconds I'm gonna see what we're doing and the Sun should be shining through these windows right here down onto our cabbage so we just need to get the lighting the angle correct there we go okay so there's those two beams of light that we're looking for maybe we can move our windows down a little bit and angle the Sun down a bit right just trying to get those light streaks to look to be in there and let's add an HDR eye to the environment so it's dark it's very dark that's the first thing I'm noticing is extremely dark so we were closer in the beginning right so maybe what I'll do is take off the ceiling here just take a look at our footage it's pretty evenly lit everyone's still following yeah everyone's still good I feel like I'm losing a little energy hopefully we're everyone still hanging in there snack break yeah thunderous the bath house was the bath house from spirited away in the first stream okay Johnny has a good point he says the light bounces will be stronger and more bright when the walls are actually white and have something you know light to bounce around Alejandra I'm doing pretty good man I'm enjoying some hummus and pretzels right now let's um let's start wrapping this thing up so we want we want white walls for everything here I think it's gonna help bounce all of the light a bit more so let's make a new diffuse white diffuse material oops I totally deleted our cabbage texture and everything what happened to our what what happened our carrot texture all right there we go okay so the floor is like a wood color so what we'll do is reference that let's bring up our background and hide the ground plane here and we will reference with this little eyedropper the wood color and that's a reflective material so we'll change it from diffuse to glossy and we'll add the roughness we'll crank the roughness up because that's a very rough reflection so we'll make sure that's on the ground okay next we will add a bit of color to our walls so let's bring those guys back in still very very very dark I'm gonna mess with some octane settings here okay all right let's make a diffuse material and we're just gonna max out the brightness on this thing so we'll set the diffusion instead of point nine we'll go to one and we will drop that on the bull object because that's you know that's everything that's all the walls and it's not looking bright I'm gonna take the ceiling off that helps a lot that helps that helps a whole lot yeah I took the ceiling off that that works it feels that feels better so let's go back to camera view see what we're looking at and let's make sure the floor and the wall okay those both of those materials we made let's make sure those are both shadow catchers because at the end of the day we want we want the the background to be completely removed so we can drop this render into After Effects so if you select both of these what's really cool about cinema is if you select multiple things you can change settings across the board with just one click so with both of those materials selected I'm gonna go to editor and now I'm sorry common and actually wait okay here's the thing this is why it's not an option the shadow catcher option is only available for diffuse materials right so if you go to common turn shadow catcher on it's gonna work for the wall okay but that poses another problem because now the sunlight is coming through it's not the wall isn't blocking our our render so let's turn that off and instead of turning it to a shadow catcher what we can do is turn it off in the renderer within octane okay so if you go to your floor right here your ground you right-click and you go to c4d octane tags give it an octane object tag and if you go to visibility you can turn off camera visibility right so that means you're not gonna be able to see the floor through the camera but now we've lost our shadows so we have to figure this one out let's see let's go to our floor and instead of having a being a reflective material let's go to basic and change it back to diffuse and let's try just turning that to a shadow catcher and see what happens okay it's very dark very very dark hmm what if we take the ground and we turn the visibility off that gets rid of our shadows so maybe what we need to do is render our shadow pass separate from this pass right here and that might end up being the option here so let's take our wall let's take our wall which is the white material and let's set that to shadow catcher that doesn't work because it takes it away the sun is shining through it we don't want that let's apply the same octane tag to our wall so that would be there so now we have you know these vegetables more properly lit for the scene or in here and I think the vegetables are a bit more contrast II than the footage and we can deal with that certainly in in After Effects but if you want to do it in octane you can basically if you excuse me for your camera if you give your camera an octane tag an octane camera tag you have a whole bunch of cool options so under camera imager if you enable that you can set your color space here from RGB to linear and set your gamma at a 2.2 you can keep cranking that and it's going to flatten things out a bit and make it you know feel like it's more in the space here we're basically doing a little bit of positing in a inside of octane the saturation is a little high I think we can go like point nine on the saturation and the only thing we're missing here guys is the the shadow pass which we'll just have to kinda I think we'll have to do separate now let's see if we can get this hot there's a highlight here right if I hide the cloner let's see in the footage you can see this like hot highlight I want to see if we can't get that going in the render because that's gonna add a lot of realism to to the scene so I'm basically going to start moving my windows around until that those highlights become apparent so let's see here where's my son hmm let's see let's see let's maybe see where they're at on the floor so if we go to the ground and we turn camera visibility back on it looks like the sunlight needs to be shining a bit more angled down more like that will turn the ground visibility back off oh now it's shining for the roof that's not what we want we don't want to do that these windows these windows should be registering maybe it's so we're trying to get a sunlight to come through the windows there we go maybe I'll just open up this window a bit more in the back here ingesting the sunlight and the window I'm just like you know pushing and pulling this so that let me get that streak of sunlight right on the cabbage there there we go okay so now you can see it there it's coming through it's very very close we're very close perfect now we have this little like sunlight spot right right in there all right so now let's see we can't line it up with the actual footage and we're gonna need to see through the floor so we'll turn the ground we'll turn the camera visibility visibility back off and it'll zoom in here oh thank you so much what is this you don't know they give you the wrong drink oh that's good thank you yeah I think area lights on windows would probably probably work but for the sake of this thing we're gonna keep moving so you can see that sunlight streak is right there we want to line it up more so with this piece here so we'll do that by rotating the Sun that's so hard to see we're so close guys like that you can see it right there so I'll scoot the window over a bit more open it up a bit there's probably an easier way of doing this I'm gonna rotate the Sun and move the window again that's basically it yeah and then let's see how that see how bright that is that streak so I think what I'm gonna do is just take the sunlight settings and take the power to like two and then let's see if we go let's go actually power back to one and then if we go to our octane camera settings you can go to post-processing enable that and we can turn on like the bloom and I think that's gonna help a lot so let's just crank that to like ten let's get rid of our wall here okay glare power like five I'm just gonna crank this to the max we'll go like 100 and glare blur we'll set that to one glare amount we'll go five glare power fifty and you can really see how like it's like a hot spot right on the Sun piece there and if you turn it on and off you can kind of see how it's being affected and we can really mess with this in After Effects that's gonna help a lot so I think it's like about time we started rendering this thing last little thing I'm gonna do here is bring this window crunch this window down so that the glare isn't going beyond the glare in the actual footage yeah there you go so you have it on those like cabbage pieces but not on this carrot let's render this so we can render our shadow pass this piece of cabbage back here we're gonna want to delete that and we'll go to the beginning of our footage here for the sake of roto we can delete that as well but I think we'll just do that in After Effects we'll mask that stuff out in after-effects let me set up this render here so what we won't do for can't render because we don't have time let's do 1280 by 720 and framerate 23 976 yep all frames sounds good let's go to octane settings samples 300 which is a very low sample rate but again for the sake of the tutorial we will keep moving I'm gonna turn on my a ID noise er and you'll see that in the camera imager tab here basically you'll be able to pump out renders quickly with low low samples if you turn on your AI dee' noise er and you can see that right here spectral AI D noise er enable that and I like to set it to a blend of like I don't know 30 percent so that you're still getting a little bit of that grain because I I like it when you blur it out too much when you do you know is it too much it looks a little blurry and you lose detail and we don't want to lose that let's see also in the camera tab I'm going to crank up the highlight compression so save a bit more of those highlights let's see here saturation point nine saturate two white point two usually so when things basically when things are like super super bright they'll lose their saturation that won't be blue anymore if you have like a really bright blue light the source will still will look more white it won't look blue so the higher you crank this number the quicker that white light or that blue light turns to a white looking light from the source what else we'll deal with motion blur inside of After Effects we want to choose the octane renderer here in the octane renderer tab you want to check use the D noised Beauty pass because that way - like bacon the D noise look into your actual image sequence that you're gonna be rendering out next when I'm setting up a render obviously we're gonna save it right we're gonna use probably an open EXR you can also do PNG both of those have alpha built in and that's very important for what we're gonna do you want to make sure that whatever you're rendering from here has the background taken out or alpha built in so that you can drop it into your footage and after-effects right so well for this sake we'll just do PNG 8-bit is fine and you have to have to have to check the alpha channel box right there you won't get off a channel unless you do that I'm gonna save this let's save this here find your right path vegies sweet sweet okay [Music] let's render this sucker so this is your little viewing window here if we do if we go to filter I'm sorry if you go to layer you can see the different layers right so that you know if you check single pass your alpha channel is working properly right so when I setup a renderer I always make sure that I'm looking here and this is working properly then you have your background which has the you know the bloom built in right because the bloom I think is helping a lot with that Sun streak so we're looking at about 10 seconds per frame here we could probably be going a little bit faster but I'll leave it you know what no I'm gonna speed this thing up I'm gonna stop this and let's set our samples down to 150 and render again because we still need to render a shadow pass after this Pablo so you asked wouldn't highlight compression lose highlight details know when you slide the highlight compression slider up it maintains the details so when it's at zero its totally blown out but when you slide it up to one it maintains the highlight details so I'll usually slide that all the way up and if I want to composite it in after-effects to better match the footage where other highlights might be blown out I'll crank those highlights back up in after-effects so we're looking at like seven seconds per frame here I'll let this go for a little bit and then we'll double back we'll set up our shadow pass and then we'll hop in after-effects and composite it together that'll be it oh so now we got some Korean I cannot read Korean working on that Japanese but I don't have Korean down Sam do I usually do a multi pass renderer uhm not honestly not really like sometimes I'll do the like post to bloom as a separate pass in this case since I can't get shadows working at the same time I will in this case have to do shadows as a separate pass but multi passes when you render multiple passes at the same time in this case I'm not doing that and even for boss town dynamics we didn't we didn't do that we just rendered out the beauty pass of the robot some times it came with we had to render a separate shadow pass but usually it was built like built and baked in because it was all outside um yeah I mean sometimes you'll do like a ambient occlusion pass but I rarely find myself myself using that in this case maybe an ambient occlusion pass would be all we all we would need for the shadow pass but we'll mess with that in a second I don't think there's any subsurface scattering on the vegetables right now I think they're technically would be on like the lettuce the carrots like maybe on the tips but subsurface scattering is basically when you have light filtering through an object so like in this case my finger light is coming through let's see see if I can get this you say the light is kind of filtering through my fingernails yeah it's kind of hard to see on the webcam but the light is filtering through my fingernail a little bit or like say for instance my ear perhaps you see how the light is coming through my ear that's subsurface scattering and you'll see that in you know a lot of legit renders and movies like Gollum in Lord of the Rings has a lot of that going on but when you're going for realism that's certainly something you want to consider in this case you know we probably could have gone the extra mile and done that but you know this is a tutorial for tracking and compositing stuff into your live-action footage and while that certainly is an element you know we don't we don't need to go that far for this for this case here ha gamer 40:28 I really appreciate you I'm glad that this helps out with your exam no need to stress out all you have to do is Google or YouTube how to do this thing I'm looking to do and you'll be alright so best of luck to you Simon have I thought about switching software um no not really if anything would be to you know stream and teach you guys blender stuff but there's a lot of good blender guys out there already and I'm very comfortable in cinema 4d they actually sponsor us at corridors so it's still free and same for octane the octane sponsor so I don't pay for that either so that that's nice if I was paying for it I'd probably be switching over but I love the software it does everything I needed to do so I'm just a big fan zennith um man I better step it up then that's that's pretty serious I appreciate it that's awesome okay guys I'm gonna stop the render here once we get to 48 frames that'll be a full two seconds I'll set up the shadow pass and we'll render that out and we'll kompis thing yeah Pablo yeah we're still working in da Vinci for editing I and I have mixed feelings on it I'm so used to premiere but I'll give it the honest try Johnny it's a good point he says if you guys don't find the exact tutorial you're looking for try breaking down your project into smaller tasks and search for a tutorial that each task is set up to accomplish that's a that's a good idea yeah you know if you're looking to do you know motion tracking you look up motion tracking tutorials and you look up texturing tutorials and eventually all those things will build up into the final effect you're trying to achieve because right here we did a lot of stuff we dealt with motion tracking we dealt with building your 3d workflow we dealt with a little bit of texturing not really definitely a lot of navigation of cinema 4d and After Effects we dealt with lighting we dealt with cloners we dealt with rendering setting up your render and we're gonna about touch about into compositing so that's a lot of stuff that we just talked about here and each one of those you can dive into and find its tutorial on you know hundreds of different tutorials on each one of those little processes but hopefully this guy's gives you guys a nice overview and you can go out and find you know different tutorials for different parts of this process okay I'm gonna cut this off let's set up our shadow pass real quick so let's see I think this is just like an ambient occlusion pass that's all we need so um let's see we went to frame 59 so we'll make sure we'll render this as vegies underscore shadow and we will go to frame 59 okay let's set up the shadow pass here so what are we going to need we can turn off the camera imager or the post-process let's see here let's hide our Sun okay and let's turn our floor and our wall into shadow catchers and then let's hide the the objects here where are our objects there we go I'm going to add a octane object tag to the veggies and turn off camera visibility and that is our chat Oh pass right there and honestly you can just use direct lighting for this that's perfect that's basically what we need so think let's hit render on that and see how long these frames take yeah this will be glad to put carrots and cabbage in your room tutorial using After Effects and cinema 4d Sebastian don't worry about spending any money on tutorials and stuff just worry about spending your time so if you download blender and davinci those are two programs that you can use blender is a 3d program DaVinci is an editor as well as a compositor and a colouring you can do sound in it too and export with those two things you can you can do basically anything you want for free look up those tutorials and if you watch these streams you can kind of get an idea for what you need to look up and what you need to Google so you know guys this shadow pass here is taking far too long 18 seconds per frame but you know what let's roll with it let's go into After Effects and start compositing this thing the final touch the final step so if you double-click in this window to the left here you will pull up your little viewer and all you need to do is go to your image sequence of your vegetables wait a second there we go and just make sure you hit the check the little PNG sequence button down towards the bottom import that drop them in and there you go there's some veggies obviously doesn't look right because the scale is off so what you could do is hit shift F there's a way to like snap the image it's a composition size let's set that up real quick so basically if you go to your keyboard shortcuts under edit there should be an option to like snap layer 2 composition size fit layer took there there does fit layer 2 comp currently it's ctrl alt F I like to change it to shift F boom and I'll snap it to the proper you know the proper size otherwise you can hit s and this would probably be 300 yeah scale it up x times 3 to get you to this final look here so obviously they look like they're floating because we don't have a shadow but we can still bring in our shadow even though it's still rendering so I'm gonna do that as well make sure you import the PNG sequence drop that in and we'll do the same deal hit shift F and basically if you set the shadow pass to multiply it'll get rid of all the white we keep the you know the darker colors so let's just make sure that our white is true white and not off gray and certainly it is so I'm just throwing levels on this thing if you go to the little shadow layer you can go effect color correction levels where there it is and you can see this bar right here that's basically where your gray tones are you want to bring this far-right slider up to meet that bar and that'll turn these to white white you can you can see by a your little info tab on the top right if you just hover over the white you can see this number 4 BB for brightness it'll go up 200 before it was probably at like yeah 82 so then when you set this layer which we should name we got veggies we got shadow and if you set the mode to multiply right up here you'll just have the shadows right make sure you save guys make sure you save yeah and there you go so let's get into a little bit of nitty-gritty compositing so first thing I notice here zooming in is there's motion blur on the footage itself you guys can see this right it's a little blurry it's not too crisp there's a difference between this frame and this frame this frame is blurry this frame is not so we want you know that this this render here obviously if we rendered it at a higher resolution you'd really be able to tell that it's more crisp you know and but even still even still we need to blur out the Surrender okay so we want to match it when there's motion blur in the footage we want to match it here and I'm using a plug-in called real smart motion blur if you guys are doing this as a job that's the first thing you should get is real smart motion blur it's the best thing ever basically all you have to do is select your layer that you want to add motion blur to and and certainly you can render your stuff with motion blur in cinema 4d or any renderer you have and it's better to do it that way because it's the most accurate motion blur but in this case we don't have time I'm just gonna hit ctrl spacebar and if you have Video Copilot console VC console you have this little box come up and please get VC console if you're using After Effects it saves so much time type in our SMB that stands for a real smart motion blur boom so like that and you can see the motion blur was added to this footage and it's like super accurate and it's the best thing ever it's actually a little blurry so I'm gonna bring the blur amount down to like point 4 that feels a bit more right me let's see how our shadow pass is doing if you go back to your little uh your project tab here right click it and hit reload footage you can see the layer update down here down below and you just have to slide that out and run actually came up with a really cool trick if you right-click the shadow layer or any layer that is still rendering and you need to keep updating and you go to time enable time remapping and you take this far-right keyframe and you slide it all the way actually no I lied don't do that don't do the the keyframe just take the layer and slide it all the way out okay to the length of your timeline and then turn off time remapping and when you right-click and you reload the footage it's gonna update automatically you don't have to keep sliding it out so let's go in here you can see that like the cabbage and the carrots they're actually losing detail because of our samples so I'm gonna throw a little bit of sharpening on those things so we'll take the veggies and we'll do just your basic sharpen and we'll crank it to like 20 and make sure your blur your your motion blur is going below all that okay you're not trying to sharpen like well okay you're trying to sharpen a low resolution or a low sample render right but you're not trying to sharpen a motion blurred low resolution layer right okay so you motion blur you want you want that to be the last thing on the list okay and then if you're getting real technical about it which heck let's get technical about it you want to add back in any noise or grain that you're live-action footage may have on it and since this is a pretty bright scene here we're not seeing much noise or grain like maybe in here you can kind of see it right get real in there you can see that so if you go to veggies and you do a match grain effect and that should be your last effect because when you motion blur it right it's going to get rid of any grain that even footage right it's gonna get rid of any grain that that footage might have so you're gonna want to add the grain back on top and when especially when compositing fake stuff fake you know renders onto live-action stuff you you want to add that noise back into your render it's just gonna add so under viewing mode will set it to final output and then the noise source layer we're referencing something you want to reference your footage and there you go it's there you can see before and after is such a tiny it's such such such a tiny little thing but it is certainly a step in compositing your renders into live-action footage next I think there is like a white line around all around this render and that it's just because I've done it so many times that I know I know it's there it's hard to tell but if you go to veggies right click it and you go to interpret footage okay so usually comes in like this and you have to turn select straight and that is going to get rid of that white line but I didn't need to do in that case so that's nice let's update our shadow all right we're getting closer and look at that the motion blur is totally working on these veggies and it looks awesome turn it on and off for you guys to get an idea and I think it's still a little bit much so I'll set it to 0.3 how's everybody doing we're basically at the end here you can replace these vegetables with a robot you can replace these vegetables with a hole in the floor you can replace these vegetables with lava we did this video a long time ago and it's one of my all-time favorites but it's me Brett and cliff playing the floors lava and this effect was done in just after effects no cinema4d and it was all using the after effects 3d tracker like we just did laying a solid across the ground and then doing like a little lava effect here and then tracking in all these little flames around the side of the couch or the wall so this is no cinema 4d this is just After Effects only using the after effects 3d tracker and 3d solids you know to get you this cool look or here so you can get as imaginative as you want with this stuff guys it doesn't just have to be vegetables so let's see what else can we do here am I missing anything I think hmm oh you see how the shadow is like taking down the highlights oh whoa we can probably crunch that in a little bit let's take the shadow let's add levels to it actually the shadow already has levels on it let's go to alpha and let's just kind of bring that in a little bit oh wait there's no alpha I lied go back to RGB and just kind of bring bring those shadows up a little bit we can crunch crunch it down so it's a bit more of a tighter shadow all right so we're looking at something like this and I'm just kind of bringing in the shadow a little darker and then bringing in the highlights and again that's on multiply that feels pretty good to me I think the darkest point in the footage is 17 percent I'm looking at this be alright 17 percent and the darkest point in the render is 24 percent 18 percent that's not that's not bad actually it's pretty close 19 percent yeah that's pretty good hard to do anything to this maybe it would be saturation bring the saturation down a little yeah something like that and then we could go the extra mile on this highlight and if you duplicate your veggie layer and you can probably get rid of all these effects and we'll add an effect called extract and extract is going to basically if I solo this if I bring this slider down its gonna get rid of all the dark stuff and if we just want the bright points we can get those right and then you have this other little slider to feather out your selection and with that on top you can set that to like add or something and you can see how that's like super bright and you feather it right you can do like a fast blur on that of like three or so and you can see how that really brings out the highlight you can set at the screen which is basically the same as ad but not as intense yeah and then I'll get you a really nice hot highlight right there very similar to this one right here it's blown out you can see the brightness is at 98% and the same could be true here so we might want to go up a little bit more on that thing if we do set it to add and take the opacity down to like maybe 50% yeah I think it looks pretty sweet it looks a bit more realistic yeah let's um let's see what this thing looks like let's reload our shadows let's give this thing a bit of color the shadow pass is almost finished we're looking looking real good guys it's looking really really close let's pre-comp all of this stuff I'm gonna hit control a to select all control shift C to pre-comp it make sure you move all attributes in the into the new composition and let's just real quick give it a little bit of color so click ctrl alt shift why I lied I'm a control shift why I lied again ctrl Alt Y is what you want for an adjustment layer and I'll just throw some like basic levels on this thing give it a little bit of contrast I think the veggie brightness can come up let's go back in here and let's actually hear what you can do is copy that adjustment layer paste it in here and just make your adjustments from in here and let's see we'll do we'll just bring up the levels here on the vegetables and we'll make sure that levels is at the bottom it's the first thing we want to do is affect the color the sharpening can come next the hue and saturation it can actually come after the levels you have all your color stuff first and then you sharpen it and then you blur it and then you have match screen on top which I have hidden right now because it's very render intensive so let's just bring up the gamma for the veggies here I'm just kind of like feeling this out I think the shadows are a little intense so I'm gonna just kind of drop those down a little bit and then we have this rogue cabbage back here so I'm just gonna mask that out real quick I'm hit G that's the pen tool select it hit em that'll bring up your mask options I'm going to animate my mask clicking that little stopwatch and I'm gonna hit shift page up and that will jump back ten frames and I'll just do this you know every 10 frames and position the mask so it's on that last little cabbage piece for all those frames there it's a very quick way to garbage matte something out all right 1 2 3 4 5 you basically get the in-between frames so now I'm going basically just did every 5 frames and then I'm doing the same process again just to make sure and we'll set that mass to subtract and now that cabbage is gone you'll want to do the same thing for the shadow we can copy that mask paste it on the shadow and since your layer size is the same that cabbage is gone updating our shadow again our shadow is done looking nice and good I'm going to duplicate the shadow and set the duplicate layer to 50% opacity sweet yeah that's looking awesome will hide the adjustment layer and let's just give it a little little vignette so hit ctrl Y make it black solid and if you hold down this little square rectangle tool you can set it to the lips and if you double click that it'll perfectly make an ellipse mask around the size of your composition I'll set it to subtract hit f4 feather set it to like 200 set it to 500 control shift H again to hide all of your layers and guides and I'll set the mode to overlay and hit T bring it down to 50% opacity I always like a little bit of vignette and let's see what that looks like I think we did a good job here guys thank you guys for joining the stream this was the longest one yet three hours we did it thank you so much we put some vegetables in our house it's looking nice and beautiful yeah if you guys have any questions I made a discord group for all of us the link to that is in the description of this video so be sure to sign up for that what else yeah I got an ambient playlist if you guys want to hop onto that on Spotify and work on VFX or do homework or whatever you can listen to that it's super chill again if you guys are looking for a way to help support the process here I do have a website where I have photos from all across the world I got Japan China Beijing Indonesia Taiwan Ireland is the latest place we've been to it's all film photography some digital photography as well and I try to get the prices down as low as possible for you guys my prints looks super nice and I sign it and you know write a little note on the back and everything get it to everybody pretty quick shipping is pretty cheap if this is a little too pricey for you then oh snap so we're in dude yes okay so that is a what is that called a super chat Zorin thank you so much for your donation I really really really appreciate it yeah that you're you're the first person ever to do super chat so let's do something real quick in cinema D cinema 4d for you let's do mo texts and you'll say thank you Zorin boom for the super chat yeah so I just enabled that thing and it's a way for you guys to help help donate and help get your chat you know in things this first time I've been doing this and yeah just enabled it today I think it's super cool and let's see if we can't add like a glassy kind of deal with this maybe do like a a chrome thank you letter to Zoran for the very kind donation and we'll get like make it bold right you know a little something a little sweet little little sign there but thanks dude really appreciate it yeah that was a that was a good session guys I hope you learned a lot and I will be back next week next Saturday at noon pacific standard time with another tutorial for you guys if you have suggestions for tutorials go to the discord leave a little suggestion there and this was actually one of the your guys's suggestions so thank you so much i'll catch you guys on the next one and until then stay passionate and stay excited and i'll see you guys later peace

Channel: pwnisher

Views: 36,863

Keywords: vfx, visual effects, 3d, modelling, blender, cinema4d, maya, 3dsmax, octane, arnold, education, tutorial, stream, pwnisher, corridor, tank, castle in the sky, studio ghibli, hayao miyazaki, texture

Id: cwjkcQupmIU

Length: 180min 30sec (10830 seconds)

Published: Sat Feb 22 2020