Make MIND-BLOWING Green Screen Scenes using Blender!

today I'm going to be showing you how I went from this to this using blender and after [Music] effects okay so you want a green screen build your cute little sci-fi world or whatever do some visual effects well have I got the breakdown for you I mean it should be easy shoot on green remove the green profit but sometimes it's not as easy as it should be feathered edges bit depth choke shatter spill what are these words what does this even mean last year I worked with the Chicago Bears at the company I work for Banner Studios to create some really cool hype content for the 2023 season and last year we went all in on Virtual environments so today I want to show you everything I've learned tried failed at and experimented with so you don't have to go through the same headaches I went through and maybe even go off and create your own cute little sci-fi film I don't know what you do in your free time so I hope you enjoy and uh get something out of it we sort of went for Chicago inspired locations so this is sort of a CTA stop this I modeled specifically after the Roosevelt stop this was basically a low poly uh version of underneath Lake Street if you've ever seen The Dark Knight where Christian Bale crashes into another van that is where this scene takes place and then also one of my favorite virtual environments was the display room um you see the all time where they build actual LED panels we didn't do that so I was like this could be a cool way to work in highlights and and yeah so I want to talk to you about this shot as you can see this is the final comp but we will get there let's first talk about keying this is sort of the set we were working with and the first thing I want to say about green screen is to make it Dynamic safe green screen is boring green screen that's why you can see we're moving the camera like crazy we've got intricate lighting we've got Haze which was a bit of a mistake because it added a lot of spill onto the green screen but that's okay cuz Roto is our friend and so yeah we're doing these big camera moves I think that is one thing that really sells the sort of real virtual environment your initial vision of green screen is something like this where it's like a tripod even lighting just High key like you're Gathering an asset so I tried to make it really really Dynamic tape we put on the backgrounds for tracking markers green tape so that I can also key it out and it worked okay so here's the keyed and as you can see the edges are pretty clean here is my typical workflow the right way probably not first off you want to start off with a garbage mat I did like a very simple animated mask because one we had that orange spill and that blue spill and I don't need all this stuff I just need him what I want you to think about when it comes to green screen is the silhouette once we had that here is what I do make a duplicate I use the built-in after effect key light it's not the best it's not the worst but it's a green screen software to plug in want to come over here use the eye Drapper click and look at how terrible that is that doesn't work so after I do some main fine tuning a lot of times what I do is switch to screen mat you want white to show black to be invisible so I crunch the screen gain a little bit if you do these sort of clip black and white this is basically like add contrast so if I go like that it sort of gets rid of a lot of the issues and then you crunch the black and that sort of goes out of the way now obviously you can see we have all this stuff in the middle what I do leave this top layer on screen mat under it this track I set the track mat to Luma mat so basically it references the top layer and then it looks at that black and white and cuts out the entire thing the reason I do this if you just leave this on final result I find often times you have to just keep playing with these settings and keep messing about and try to get that color back all the stuff that it does in the center of the image is not what I want and so I think there's something about maybe the color information that's used when you turn turn to screen mat where it's sort of lower bit depth or whatever the term is I'm trying to sound smart again this looks pretty clean if I go to final result it's messing with my color it's mess look at it what I don't want is zero to turn into eatting away zero Once you turn it to screen mat and you do the Luma track mat thing it doesn't mess with the color in the center then I precompose those layers and then it's time for the key clean up so scrub through I'm masking I'm I'm key framing these masks to get rid of all those ugly edges it's it's not too hard cuz the green screen does do 70% of the work but you do got to clean up and then after that stuff like this you can see they very clearly have a lot of green screen spill so what do we do I go in duplicate my layer patch these up and then we've got a very clean green screen but sometimes I feel like the edges are maybe too sharp or too soft it it really depends I will throw on a refine hard mat I take off the decontaminate I take off the reduce chatter I take off the motion blur it just evens out the edges and then last thing is Advanced spill suppressor takes away that green make sure to put it on Ultra mode standard mode is kind of stupid and now we got a clean Creek now we got a clean so boom bada bing now you can track an After Effects the built-in camera tracker and send it over to blender with AE to blend but motion tracking blenders pretty easily and there's a thousand other better tutorials so let me just get right to it click the motion tracking tab we you loaded in our footage you want to click a track and set the scene frames and they'll do the prefetch and that lets it Road into RAM and you then detect features wow that's not a lot of features it detected surely there's more features let's tell it that there is turn down your margin turn down your threshold it likes to be threshie with the threshold I don't like threshie thresholds click track forward it tracks forward go back to the frame and track backwards and look at that it's already tracked now like I said before this shot is really easy to track which is also why I kind of did it in After Effects but blender is better because once you bring it into the scene oh my God I forgot to solve clean tracks repr projection error the lower the number the better it's like golf solve camera move it 37 pixels we're back in the game baby just like tigerwoods and then you go to your object constraints and you can add the camera solver and as you can see this little line right here is the camera path line basically shows you what your camera did on the day it's quite magical all right so now we've got the camera move got the camera path it's moving it's accurate what we're going to do is load in our green screen plate you can see I've already done it here you can load this in I exported this out as a PNG sequence with Alpha we place it into the scene and this is where Ian Hubert really came in select the plane select the camera copy location copy rotation and then once you key frame the scale you have your character sitting in place if I go to this view you can sort of see it's magic and it looks like like the frame shrinks around him rather than him moving and then once you have all that you can put them anywhere I have a track camera then I have a second camera I add all my other little settings here sometimes I like to switch it to panoramic I put the aspect ratio of the lens to two so it gives it more of that vertical POA you can rack Focus if I move this around it changes the focus and so that allows you to do so much you can move the camera you can extend camera move you can whip pan in and this is something I use constantly and the other great effect of actually having the plate in the 3D scene is you can put things in front of it I've got these volumetric lights I just made these cones that are parented to these spotlights now that cone of light goes in front of them like he's actually in the scene you can add in realistic flares you can add in dust and debris and make it go in front of the camera you can do all these magical things and then you still get your color properties you want it to match the background more get up all in here and see see how fun it is this is how the footage came in which doesn't look right so I brought it down there's a lot of great benefits of actually having the plate in frame and the last step to really tie all this in that helps you a lot as much as I love the sort of in viw Port compositing when you render these things you want to give yourself as much flexibility as possible so what do I do I render in exr exr is this magical substance I don't know where they found it but they somehow got it into blender and allows you render in layers open exr multi-layer and now if you go over to this little button right here that is your view layer properties passes this is what the combined layer is it's everything you see before you my child you can go into an emission layer all the things that are emissive my child you can go into mist if you don't want your graphics card to explode but you still want to add volume metrics to your scene this is a good way to sort of cheat it when you render this which should be no problem for my 44090 I have you get your motion blur you get your realistic lighting you get all your stuff that you want but you also get all these other layers look at this if you name this something sensible you're in a good spot emit AO interior index material so I can isolate these layers and recolor them later missed I've got it if we go to the other view layer I've got my subject right but then I've also got an index object of my subject so I can perfectly key him out and recolor him differently later in the compositing exr wherever they found it when they Unearthed it from the annals of South Africa I thank them all right you've seen the scenes you've seen the the magical exr material you've seen the tracking you've seen the keing let's get to compositing this is my favorite part uh because this is where it all comes together and it looks good look at that so let's talk about compositing compositing is basically when you take your 3D exports some of your other elements like your 2D stuff and mix it all together make it look good make it look like it fits together I would like to note that I use some red giant in this because I am a corporate shill and let's get into it right click interpret footage main 23976 cuz that's the project that we're doing we're not doing 30 FPS that's for heathens you drop it into the comp and it is black why is that because exr is weird and it's got all these layers so you need to unpackage them so you use this ex tractor R extractor exr extractor throw that on there and look at that it's dark what the then you throw on this lumry color and it gets better why because it is a Lut that is exr to linear and it brings it all back to what it's supposed to be and this is our starting point on my subject ISO I thought he was a little too bright for the scene so I darkened him then I use the secret sauce red giants super c c c c c c c you drag all your layers in and it basically allows you to recreate your comp uh that you've got down here but up here and that height difference is really good no I'm joking it allows you to bring it in here and then you can have layers affect other layers let me show you once you add this layer on top you can go in and you can have all these different effects you can do I built a preset that adds on all these four little effects one matches the color so if I turn that off it adjusts the color just a little bit to make it match the scene this just Blends the edges ever so slightly this does the beautiful beautiful light wrap so it really makes it feel like it's part of the scene so when you turn it on that orange just subtly comes over the edge same thing with the blues and the shadows and everything it sort of just embeds it into the background which I like and then I added some diffusion which is just kind of like a black prist type filter and then over everything I add on the other Secret Sauce glow you bloom those lights you bloom those colors looks real nice add some camera lens blur for when it's back here I made it out of focus so that it made it different and cool and I used camera lens blur and with an aspect ratio set to 08 so it gives it that anamorphic look I don't know and then a second lumry to make it more blue instead of purple and then some grain you always got to add some grain because real camera's got grain in it last thing I would typically do I didn't do it in this project which I'm actually surprised by is to add some lens flares I think lens flares are can be overused but they can also be really cool let's talk about lens flares here's another one of my favorite shots from the ticking spot we created him in the corner of the display room one of the things I did here was add this little Bloom up top again using red Giants n Light Factory it gives these realistic lens flares you can add them everywhere I put them off frame I put them over top of light sources sometimes it's the same way when you do modeling and texturing in your 3D scenes where you're adding imperfections when you're adding fingerprints when you're adding smudges and grime and dirt to the edges of things surface imperfections are what give things this sense of realism constantly I'm trying to blend the edges between the two cuz the light bleeds from back here over to here and then add lens is because that light is hitting the lens of the camera and causing all this weirdness and then that's why I had grain all this stuff all that bloom all that glow it's all to sell the realism I think the key to all this that good 3D track match the 3D scenes lighting to what you captured on the day we shot this particular shot in all white light I don't want to put this shot on this shot the focal length is different the colors are different that wouldn't make sense you want to match the lighting of your scene to the lighting of your character and then you want to have a perfect camera track and then you want to add those imperfections imperfections make Perfection and after days and days and months and months and weeks and weeks of doing shot after shot Javon trl's eyes went blurry he had to get glasses he had to seek refuge in his bed at times s but after months and months he climbed out of that hole that green screen hole Victorious he fooled everyone that watched that maybe they did actually put these people on Tron versions of Chicago locations maybe he did actually build that display room maybe he did line them up in front of these Neon Lights probably not but we can suspend disbelief for just a little longer so yeah green screen thank you for watching don't let Christopher Nolan sway you away from liking green screen Mr Green Screen is our friend let's so let's bring him in close give them a big hug and say goodbye to all the set designers out there in the future all films will look like Zack Snider films all right thanks for watching bye-bye it's not easy doing green screen haven't to spend so much time doing Gro Ming just when I think it could be easy I gotta do some RNG

Channel: JOVAUGHN

Views: 16,733

Keywords: JV, TRAMMELL, film, black, blender, blender3d, vfx, compositing, how to make, blender tutorial, blender 2.8, blender 3.0, blender tutorial for beginners, blender tutorial animation, virtual production in blender, blender green screen tutorial, blender tracking tutorital, tracking in blender, bring your camera into blender, after effects and blender, chicago bears 2023 video breakdown, blender green screen, how to key green screen, bad green screen, blender animation, virtual worlds

Id: Q8otVOCPmIY

Length: 15min 32sec (932 seconds)

Published: Mon Jan 15 2024