Mocha Pro Webinar: Object Removal Made Simple

thank you everyone for attending this webinar my name is Ross Schoen I'm with Boris effects and my partner here in crime is Mary poplin who you might know from many of the MOCA videos that you see on our website today we're going to be focusing on the object removal the the remove module sorry in mocha Pro this is probably one of the most interesting aspects about the mocha software that people always have a lot of questions so we thought we'd really dive in dive in specifically and show you guys how to really take advantage of this very unique tool so the webinar is in listen-only mode if you have any questions I'm going to be answering questions in the chat area and Mary if you want to advance the slide sure yeah so we're gonna be covering basically the remove module which is found inside of mocha Pro the remove module is based on planar tracking and uses temporal frames found in the clip so that means if there's clean areas in the clip and you have good tracking in the background you're going to be able to use this module to actually remove foreground objects we're also going to cover a little bit of clean plating with Photoshop how to do some more complex removes like mary has a great example where she removes an object that's that's underneath some shadows and some basic some basic advanced techniques to basically optimize and learn how to use this tool much faster so let's keep going Mary got it okay so again you these feel free to use the chat area on the side will answer your questions so again we're in listen-only mode and you can basically find lots of information about our products on Boris effects comm we are going to be giving away some really exciting prizes here a full suite of force effects mochou pro one-year subscription when your subscription to sapphire which is our flagship plug-ins for visual effects and motion graphics and a one-year subscription to Boris continuum which is our flagship product for editors and finishers so at this point I think I'm gonna turn it over you Mary and again thanks a lot for coming all right well thanks for us and hi guys for those of y'all that have heard me before I'm Mary poplin for those of you that haven't heard moved for our same thing so what we're gonna do is we're gonna go over the remove module and I'm going to start with the basics like Ross said and what we're gonna do is I'm going to show you for example in this sort of shot this is a common a common scenario where you have an object to the background that's kind of distracting from your shot and you want to remove it well you can use the remove module to remove this type of object and we're gonna talk about actually I want to start with this example because that one requires a clean slate we're gonna start with this example because this is how to remove a car from the road and we're gonna show that because this is how to do it automatically and then we'll show you a clean plate sorry I got ahead of myself so what we're gonna do is we're going to use the background pixels in this shot to replace this car and the way we're going to do that is we're going to track the background so when we're done we'll end up with something that looks like this and what you want to do is you want to set this up in mocha so we're gonna go ahead and turn our render off let's jump to our remove and I'm going to actually do this from scratch for you guys so the first thing we're gonna do is we're gonna select our layer instead of After Effects but this doesn't just have to be After Effects it works inside of avid media composer it works instead of Premiere and other hosts like nuke so we're gonna go to effect mocha by imaginary systems and select mocha Pro now that we have mocha Pro as a plug-in applied to our footage we can actually read from the timeline now if I have this on half res for example like in proxy mode and I hit launch mocha you'll see that it says hey confirm that you want to track this in half res that's because what it actually does is mocha reads from your timeline and renders back to your timeline when you're done so we're gonna actually close this and we're going to go to full res now that I'm on full res I'm going to hit launch mocha Pro you will see that warning will not come up it's not an error it's a warning and now we will read our footage directly from our timeline so the first thing that I'm gonna do is I'm going to track this car so let's find a good place to start tracking it from when you're tracking in mocha as just as a beginner I just want to point out that mocha is a planar tracker okay and we're gonna use X blinds to track our object smoke is a texture tracker that means when we track an object we want to track the pattern of pixels that's moving through the scene and those patterns of pixels need to be moving in the same direction we get away with tracking this car even though it's multiplanar because we're actually only gonna track translation scale and rotation which means we can fudge it a little bit if we were tracking shear and perspective we definitely need to stick to one plane at a time and by one plane I mean break your shot up into the most basic shapes so if you look at this hill here this is about 45 degrees to this ground plane and so is this so this is about 180 degrees and this is about 45 degrees to that 180 degrees so when I talk about planes I want you to recognize that sort of geometry now we're gonna track translation scale and rotation what you'll notice is that the minimum percent of pixels used is automatically adjusted for me if I drew a super small shape it would be a high number if I drew a very large shape it would be a very low number and that's because mocha is trying to save me time if you find that your track is slipping though you can always increase this number we're gonna go ahead and hit track backwards and we're gonna let mocha follow this object as it moves through the scene there we go sometimes it takes a second for the tracker to catch up and you can see that it's not glued to the object perfectly that's because we're actually tracking that that pattern so what we're gonna have to do is we're gonna have to adjust this rotoscoping so here's how we're gonna do that I'm going to go to my original frame and I'm going to use this Auto stabilized or quick stabilized mode I'm going to use my zoom tool zoom in on this car now we're gonna do is we're actually going to have this car pinned into the middle of our screen so we can rotoscope so I'm gonna go to the end of this shot and I feel like I can add a little keyframe here that's automatic keyframing and now I can just scoot it off the edge of the view screen now I'm gonna trim my layer just by hitting the set layer out point right here in layer properties and I'm going to adjust my roto shapes through the scene we want to make sure that we get all of the car inside of our rotoscoping shape we also want to make sure that we go ahead and grab all of this shadow that the car is casting now if you look really closely you can see that there's quite a bit of shadow that the car is casting and you want to make sure that you grab all of that because if you leave it on the background mocha is a machine and while is you know a pretty advanced bit of computer vision it is not using a sort of optical flow to tell what's going on in the background further than what you tell it to do so because it's a computer it believes you when you tell it to remove those pixels so make sure that you're telling it to remove the right pixels and not leaving things like shadows or motion blur on the background now we're gonna go ahead and pull that out and again we're going to correct our roto shape just like this hey hey Mary you mind if I jump in while you go a couple people's comments have said they feel it's gonna you're going to go fast so I'm just gonna ask you to slow down a little bit but just to reiterate kind of what Mary is doing here and also I want to save her voice because she's battling a little cold is very basically again using mocha to get a good garbage matte and because basically the the car in the shot is the object that she wants to remove so that's the first thing that she's focusing on right and sorry if I'm going too fast guys I am I've got a lot to cover so I'll I'll slow down and we'll just cover what we tell them all right so the reason that I'm rotoscoping this car first is because I'm fixing to have to track this background so now that I have my car and all of the shadows that the car is casting completely inside of this shape I'm gonna go ahead and turn my quick stabilise off which is right here and that's our car roto now I'm going to draw my background track so we're gonna look at all of these pixels in order to track the motion moving behind the car so that we can use all of these pixels to replace these pixels so we're going to arrange this we're gonna call this car remove it's very important to name your layers especially if you work with other people we're gonna call this background nobody wants to have a layer a I'm sorry a mocha file given to them with layer 1 through 27 unlike unlabeled so we're gonna call this background and we're gonna drag background under the car right so the reason we do that is because mocha treats everything at the top of the layer pile as closest to the camera and it reads everything at the bottom layer pile is farthest from the camera that means that it will also hold out all of the foreground objects from the background objects so if you rotoscoped from the foreground to the background like I just did what you will have is you will have hold up mats for your entire shot so now we're going to track this background but we're going to track translation scale rotation shear and perspective and we're gonna turn our surface tool on here and our grid tool on we're going to align our surface and grid tool to the bottom of our road we don't do that for mocha we actually do that for ourselves and notice again that mocha has saved me for myself been selected less pixels so that when we track we're gonna track a little bit faster I'm gonna go ahead hit and turn the gear off for car remove because I don't want to track the car twice I'm gonna turn my mat off for my background track I'm gonna hit track forward and Ross is that slow enough for you do you feel like you've do you feel like we're getting the the point a little better yeah I think it's you're probably going still a little fast but I know that's your tendencies in general I know we have a lot of viewers coming from you know different countries so but yeah just I'll kind of reiterate what Mary's doing here is she already created the garbage matte for the car she turned the gear off on that garbage matte layer and she made sure that that layer was above the road track so basically the way mocha sets up its its layers is quite important for occluded objects so the road track is actually placed below the car because the car is closer to the camera right exactly yeah so yeah I'll do the merry translation yeah okay thank you yes I mean I just want to make sure that everybody understands what we're talking about and then I'm not you know motor mouthing too hard I understand that for people who English is not their first language it's gonna be a little rough for them so I will attempt to slow down my speech that everything's cool and a lot of people appreciate the speed so it's to eat thorough and let's keep going okay perfect so once our track is complete what we're going to do and we really didn't have to finish tracking the entire end of the shot but um I just let it go anyway we really just only needed to track to here to remove it because these are the only pixels we're going to be using to remove but what we're going to do is we're going to use these pixels now to replace those top pixels so we're going to select our car remove and it is actually just this easy we're going to turn our overlays off so that you can you know see what we're removing as we remove it and we're gonna do some test renders so I'm going to jump to my remove tab am I removed and I'm not gonna actually adjust any settings because this is such a simple shot and again it's only a simple shot because we have all these background pixels to replace this object because this object is moving over our background pixels we can see behind it that means Moke I can see behind it so we're just going to hit render and mochas gonna look at all those background pixels to replace our foreground pictures we may hit render again somewhere later down in our timeline and we're just gonna double check and make sure that this is removing which it looks like it is so now we're gonna hit save and close excuse me thank you and inside of our plugin we're gonna use our drop-down menu to hit render and we're gonna go to remove so we're going to check render and check remove and it will actually render back to our timeline we can even render this in quarter res if we want it to play super fast so we can just see a little proxy right excuse me sometimes when we do it in quarter res it doesn't look very good because it's actually using quarter rest to replace it so let's just go from the start there we go so now if we play at full res we can see that we're getting a really nice remove here for our car as it renders back to our timeline now I've actually already rendered this for you so that you don't have to sit through the render instead of after-effects so here's our end result alright now what we're gonna do yeah and I think that I think the important thing to note here and sorry to jump over you is that everything you're showing here you're showing it inside of the mocha Pro plugin inside of Adobe After Effects someone was asking earlier in the text about premiere this will actually work inside of from your pro inside of avid inside of nuke inside of fusion or inside of the standalone application so that remove module work in many many hosts exactly thank you for pointing that out um alright so we're gonna move on to a slightly more complex remove and by slightly more complex I mean what so this is great you can see the planar data that moves behind the object so mocha can see behind it so we can automatically remove it perfect yay all right now what happens when we're gonna less than ideal situation which is going to be you know the bulk of your shots well let's talk about that let's move over to our desert background remove this is what I had originally started on without you know I sort of got ahead of myself but we're going to take this shot and this you know looks like it's shot for a car commercial and let's say you're in your edit and your director comes up behind you he's like hey can we do something about this distracting car back here I won't be focusing on this l200 not this little SUV in the background so yes there is something we can do about it and let me show you what we can do we're going to come over here to our desert remove and here's what our final render looks like I'm just going to show you how we do this we're gonna select our desert remove and let's actually open a shot here and let's go to our selected layer this is your drop-down menu where you can view different views if you have a remove rendered it will show you your render but because we don't have a remove render yet we're just gonna do selected layer the reason we don't have a remove rendered is because again this is the plug-in and we are rendering back to the timeline when we do this so I want to point out a couple of things real quick if we are going to do this shot from scratch and I'm not going to do this shot totally from scratch because it takes a minute to do but I'm going to show you some concepts so if we want to remove this we have a problem in that we have a car that moves right over our object so that means that if we tried to just remove this car we would have this car interrupting our background pixels and also you know it's going to be contaminating this background shape as well so what I would do is I would start to draw some remove shapes around my car and we're gonna do this to hold this car out from our remove background now we don't have to be perfect on the car we just really need to be perfect about the areas that move over this background area so if I were gonna hit render I mean track forward we would start following this car now getting the roto on this perfect takes some time so I'm not gonna make you sit through that but what I am going to show you is what the final rotor looks like what we've done is we've rotoscoped this little antenna here on the top of the car for each little moment that it goes over that car and we have rotoscoped this mirror as well because it moves separately from the rest of the car and we've rotoscoped the top of this car notice I split those roto shapes into three different shapes and I really only worried about them where they went over this car now the reason I just put them up into three shapes because I used mocha to drive my rotoscope which means you can tell I'm using way less key frames because we're basing those key frames off the track all right does that make sense cuz you might have any questions about that before we move on no I think you're doing great yeah just to kind of reiterate what you're doing kind of very similar to the last example where you remove to the foreground car from the road in this example you're you have multiple masks right because you want to basically make sure that you can get a good track behind this large truck and you've broken up the shapes into multiple layers because of the different kind of planar motions exactly now now that I've done that I can actually draw a new shape for my background so let's just zoom out and let's draw Schaeffer on this whole background area now I can track this now because this is actually does not have a lot of shear and spective data moving on this background I'm just gonna track translation scale and rotation and I'm going to move it underneath all of my row dough and I'm gonna call this BG track okay now notice that I did not draw a shape around the car before I drew a shaper on the background track that's because I don't have to hold that car out from the background in order to get a good track on this background because the car is not moving over the top of it it's practically part of the background so we're gonna hit track forward and if you look at our track by turning our surface and grid tool on I want to point out that the surface and grid tool are the only things that will accurately show you what the track is doing if you try to rely on what the shape is doing you will be disappointed because the shape can be animated whereas the track is actually that the data itself inside of mochas will brain so what that means is that we can adjust that shape at any time during the track to get a better track but the surface and grid tool are the reflections of what the track is actually doing so once we have completed this track we're gonna be able to actually link our remove shape to this background track and I'm going to show you that using the layer properties over here so layer properties are where you can start to adjust various properties about your layer so you can come in here and you can actually make an insert clip if we were doing an insert you can actually read that right from your timeline we're not going to do that though we're actually going to just go ahead and use link to track link to track is going to be how we link this foreground track to our background track once this is complete ross is that still making sense yeah it makes perfect sense to me and I believe ya know specific questions about it yet so yeah you're getting a good track for that the plane in the background and I believe the next thing here you know someone was asking earlier well could could moko remove a logo from a shoe from a sneaker and the answer is that I came up with and a couple other people are basically well if if that that sneaker you know if that logo we don't have any frames where that you know that the logo doesn't exist right so in this example we don't have any frames where that in the shot where that background truck doesn't exist so that's where I think the next step is the fun part where comes in to the clean plating exactly I think I think I might just to sort of answer that question about the logo yes you can use a remove tool for it but on a sneaker there's gonna be a lot of motion blur and it might actually be a better job for the insert tool but you could use this technique as well so the technique I'm fixin to show you is going to be linked to foreground track did you have something to add Ross no I'm just gonna say yeah exactly just making the point though that if the clean frames do not exist in in time within the shot you do have to manually create them somehow with paint or clone techniques exactly and we're gonna do that right now so I'm gonna draw a shape right around my car right here it does not have to be a good shape it just has to be a shape that encompasses the car it doesn't need to be tight on the edge and in fact it's better that it's not tight on the edge because that gives you more blend room so now we're gonna call this car and we're gonna go ahead and take car and we're gonna drag it down we're gonna call this BG car actually because we have a car for the front now we're going to take BG car and we're gonna go to link to track and we're going to link BG car to BG track all right so now I wrote a shape follows our car through the shot now I see that I actually missed this little carriage on top of the car so we're gonna hit Ober key we're gonna pull that out and what that'll do is that'll actually alter my shape for the entirety of the shot that's the power of uber key uber key allows you to do a ripple offset through the entirety of your timeline even if you have keyframes on top of it so now that we have BG car and our background track behind it we're going to use all of these pixels to replace these pixels while holding out all of these pixels okay so let me just turn my all mats often do just selected mats so again these pixels to replace these pixels holding out all of these pixels that makes more sense all right so we're gonna jump to our remove tab inside of my room a move tab watch what happens if I just hit render literally nothing all right now the reason for that is because we don't have any pixels to replace this with so we're gonna have to invent them so I'm going to hit create clean plate and now we're going I'm just going to save it to the desktop because this is a webinar never do this do as I say not as I do we're just gonna save this clean plate to the desktop for this webinar only otherwise you would save it to a folder you know in your pipeline and we're going to save this clean plate and now I'm going to open Photoshop inside a Photoshop I'm actually going to open up this clean plate and we are going to paint this out with a clone tool you could also paint this out technically inside of After Effects or you could do an offset inside premiere and then you know comped layers together into a little yeah what do you call that in Premiere Ross where you mix down to two tracks oh you can you can do a nest if you wanted to take two layers and nest it into one layer kind of like a pre comp right so you know or you could paint it out in Nuuk if you were in that but we're gonna use Photoshop because this is like the easiest way so I'm gonna take this car I want to paint it out so let's go ahead and use our clone tool we obviously want to make sure that we have a space where we can see the entire car if we want to paint it out and we're just gonna paint over the top of this now this is probably going to be the world's quickest and dirtiest paint out so you know I don't want to spend too much time teaching you how to paint in Photoshop but suffice to say we're just gonna excuse me that's not I say that and then I'm still gonna try to do a good job in here because I want to illustrate the point let's just come over here paint that out there we go hmm helps helps a few hum to yourself I find you use the heel brush as well Mary right look how many rubber stamping and heel brush and that kind of thing right yeah and the reason I like to use the the hill brush is because the heel brush actually hides a lot of sins you know if you like for instance with this ground you know if I feel like I want it to blend a little bit better on the ground I can come in here and take the heel brush and I can take you know like this ground section and run it over here and you see how it blends it really nicely into the bush that's why I like the heel tool so now that I have you know some nice bushes to replace my little excuse me area with let's uh undo that let's actually just smooth this out I want it to be as you know in obtrusive as possible so now that we have this nice little car removed frame where we can see what's behind the car we're gonna hit save and now back inside of After Effects we don't even have to reload it it's actually already in my clean plates if you click on your edit clean plates here and this is really important we're gonna use clean plates exclusively because we don't want to tell mocha to use other frames to replace this we want to tell it to use the clean plate only alright and we're not going to use illumination modeling on this because we actually don't need to because this is a fairly constantly lit shot if we needed to use illumination modeling I'll show you what that looks like in a later shot so we're gonna hit render and do a little check it removes the object which is great so we're gonna save this and we're going to close it perfect and now After Effects is gonna try to save me for myself and ought to save my project so give me one second there we are now we're going to check render remove and turn that on and moeka should remove my car for me right from the background and so this is what the render ends up looking like if we play you can see that we're holding the car out from that remove and we're getting a nice clean background replace so that's how you use a clean play when you can't see behind the object so what we did is we invented those pixels that mukha would normally not be able to see that make sense does anybody have any questions yeah no I think there's I think it makes sense I know there's some people are struggling with the streaming quality and I think that's probably your local connections but ya know it's a excellent example of showing how you painted just one clean frame and using that tracking data of the plane you know again the the the pixels behind the truck were tracked and as well as you've used the the foreground masks to hold out you know the truck so that that clean plate gets composited nice and cleanly hi in the truck exactly very very cool example and I think the coolest thing about this is that as we both know and probably some of the people on this webinar you know doing visual effects and kind of fixing these kind of these kinds of shots it can be very very complex so if you're gonna do this in Nuuk or an after effects without mocha you could probably be stacking up many many layers of effects so what mocha Pro is kind of doing in this remove module is simplifying the process kind of like simplifying what could be a 20 step process into a much you know more refined simpler process yeah what I like to say about mocha Pro and in the remove module and insert modules in particular is that if you're an advanced visual effects artist they allow you to cut your time in half you know that would normally take you to create your shot if you are not an advanced a visual effects artist it allows you to create some pretty advanced effects without having to have that background in visual effects right like you could kind of learn just mocha Pro process and you even if you're working in Premiere or avid media composer you could even be you know turn to your producer and say yeah I can remove that object right so let's talk a little bit about how to remove something with more than one clean plate and actually a little with a little bit of complex shadow overlay so what we're going to do is we're going to remove this snake tattoo from let's just duplicate our original plate so that we can there we are put this here alright so we are going to remove the snake tattoo from this woman's neck and the way we're gonna do that is we're gonna actually use two clean plates because we do actually have a subtle lighting shift happening and we want to make sure that we capture that inside of mocha and we also want to make sure that we are following with the motion of her neck okay so we also need to rebuild the shadow under her hair and hold her hair back on top so this is a slightly more complex version of what I just showed you so we're gonna keep building on our previous examples and show you how you get more and more complex with these techniques so let's show you how that works so the first thing I'm going to do is jump into your to our mocha Pro is we are going to launch mocha Pro and again we apply that by going to effect mocha by imagining systems mocha Pro or we can search for it over here in our effect browser okay now we're going to launch mocha Pro mocha Pro is going to read our footage directly off of our timeline just like this and again we're going to make sure that we were on our selected layer and not our inserts okay so much like I did previously I'm going to actually go ahead and track the background first because again I can't see behind the object so because the object is part of the background I'm gonna use that as part of my tracks that I get really good data so we're gonna go ahead and hit track forwards with translation scale rotation share and perspective now why do we use translation scale rotation Sharon's perspectives so translation is really obvious it's what the object is doing in X&Y again rotations super obvious how is it rotating and scale really obvious how is the object growing but share in perspective must be pull up so let's talk about that shear is how the object is warping in just x and y okay so like a square becoming a diamond and perspective is the addition of z space to that warps so you see how that's tilting forward in space that is perspective if you don't see share or perspective on your object you should not use that in your tracking now we're gonna go ahead and hit track forward now I've already baked this cake for you so I'm probably not gonna sit through this track because that's spending unnecessary time so we're gonna stop we're gonna delete that and I'm gonna show you what my background track ends up looking like if we align our surface and grid tool to our background track here on our little snake track let's just align this just like this you can see that our track ends up being really accurate you want to make sure that that track is glued to the object you're trying to replace because mocha is machine and it is only as good as the data you gave it so garbage in garbage out excellence in excellence out okay so let's go ahead and now we're gonna draw our shape for our snake and I'm going to show you how we did that because I want to talk a little bit about edge feathering with pixels we're going to draw an object right around our little snake tattoo here and we're going to talk a little bit about rotoscoping this type of object we're gonna use our explains here's why I like explains if you relax for a curve you get nice curves if you pull tight you get corners so we're gonna relax for a nice curve I'm going to pull tight for a corner here and I'm gonna pull tight for a corner here okay so that gives me a nice curve to my shapes with a little bit of a a cut off now I'm going to use my pick edge and I'm going to feather the edge of this shape I'm doing this so that when I apply my mask to my remove we'll get a nice soft blend between my mask and the other parts of this object now notice I'm really not doing much of a blend on this edge here so this is per point edge feathering so our mask is going to end up looking like that all right we want to make sure that we're using four-point edge feathering because we want to make sure that we are not getting a blurry edge here otherwise I would cut off part of my snake we're gonna call this snake tattoo remove and we are going to link this to our background so now it's going to be linked to our background and I can start to correct my roto shape so I'm going to you excuse me I'm going to select pick both and I'm going to adjust my own shape just like that and so what this will do is this will give me the ability let me just pull this out a little bit this will give me the ability to remove this object with a clean line right around long the edge of that neck and I want to make sure that I'm fixing this little area here where I can see her hairline just like that it's really important with this roto be accurate because this is how your remove gets created all right so I feel really good about that so now what I'm going to do is I'm going to do same thing I'm going to create clean plates so I'm actually going to go to my remove tool and because the lighting changes from beginning to the end I'm going to hit create clean plate and I'm going to again save this to my desktop but you would never do that you would save it to a folder in your pipeline and I'm going to hit create clean plate here and do the very same thing back to my desktop and now we can paint these in Photoshop so if you look here I have a 361 408 automatically assigned for myself now I already showed you how to paint in Photoshop so I'm not going to go and dive into Photoshop again to reply to to replace this but suffice to say you use the clone tool to replace the snake and then I use the heal tool to blend the edges and I use some selections and eraser tools to blend back into the skin so what that ends up looking like is this let's go to our remove and turn our edit clean cuts on you can see 361 and 408 we have our clean plates so let's hit render inside of mocha and just do a little quick test I'm going to taking a second to think about it because it's replacing a lot of pixels and it's gonna replace that object there and let's go to the beginning and see what that looks like alright so that looks pretty good on both of those frames I'm gonna save it I'm gonna close it and now I'm going to actually render it to my timeline by doing render remove let's just turn off our background here for a second render removed turn mocha on and I'm actually going to select my visible layers turn my background off you snake only and we're gonna do apply matte and that will apply my mask to my remove and now we're going to turn our background layer on so this is our remove over the top of our background now obviously this is not a final shot and here's why we've got this sharp line under her hairline we need to blend that in okay so if we want to blend that in what we need to do we actually need to slow this feather down to to like maybe a 15 because I can see tattoo that we're removing so that's why we got really close to that line let's do five actually all right so we're still soft it you know to sort of match the hair that we can see on the edge of her neck but we are not you know cranking this up to like such a high level that we actually see the tattoo all right back down to five there we go but you can see her hair right under here so let's talk about how to fix that well what I would do is I would take my my mocha shot we're gonna launch mocha we're gonna go back to our selected layer and I'm going to try to copy this shadow here so let's do a little quick rotor shape right under here let's track the edge of this hair line just like this soften it you see how we're following that line there we're gonna call this shadow and we're gonna hit track Ford and this should track really quickly now we're just tracking translations scale rotation and shear we don't really need a track perspective on this I just want to get a nice smooth motion to follow this shadow and we're again going to adjust our roto shape as well so let's adjust our rota shape just like this and let's see how that looks all right so that's an approximation of our shadow we are going to export the shape data and we are going to copy this to the clipboard so selected layers copy to the clipboard and because I don't want the shadow to hold out of my my snake I'm gonna move it below so that when we render we're not holding this out let's hit save and close and now I'm going to duplicate my original plate I'm going to move it above and I'm going to call this hair I'm sorry I'm gonna call this hair shadow I could also just make a solid to do this but what we're going to do is we're going to do a fill let's go to effect and let's do a generate fill let's just find it over here fill right here we're gonna just do an i well we were gonna do an eyedropper let's turn it off maybe an eyedropper to select the shadow there we go I'm gonna make sure that we are on our first layer we're gonna go to edit paste mocha mask and we're gonna settle this a little bit let's go to masks shadow and we're gonna feather this right inside our pasted effect now we could also use mocha to apply the effect but I'm just gonna I just did it with copy and paste it's to a nice soft shadow edge and are there any questions Ross yeah there's been tons and tons of questions but I think that I think you're doing great and I believe I've been answering most of the questions via texts so yeah so now we're just gonna go in here and I'm gonna actually hit darken so that we're not darkening this the shadow and we're going to go ahead and put our hair back over the top so we would put the hair back over with another roto shape so again I would do that very same thing where I would duplicate our layer and we're gonna duplicate layer' move it above and I'm going to select my remove launch and we're going to start some rotoscoping so we're going to draw a shape right around our hair and actually can you uh can you answer a question really quick sure all right so mariya is okay I guess Mary is taking a quick break apologize that she's bagging battling a cold but I'm gonna answer a couple quick questions while Mary's off one is that someone's just asking hi rose how does the mocha team recommend how you shoot phone screens for replacements everyone here knows that milk is used quite a bit for tracking iPhone and mobile phone and laptop screens that kind of thing generally we recommend just leaving the screen turned off in grey that way you're gonna be able to comprehend is much better you know some people do put tracking markers or put green screens personally I think that you're in a getting get the best compositing result by leaving the screen gray and then you'll get more natural reflections and I think I would further add that I would further add that you can also just leave it on like medium tone gray screen if you want to have the light reflect on you as well unless you were zooming totally into the screen in which case you would definitely want to make sure that you use tracking markers because if you're zooming so far into the screen that you don't have the edges anymore that's gonna be a problem to track Thank You Ross on how much how much occlusion or how much foreground motion is going to be in front of your your your replacement you know there are a certain you know I don't want to dismiss keying and there's definitely times for keying as well 100 percent that's absolutely true and I'm sorry for the break guys I just I had to get a drink of water really quick and I didn't think you guys wanted to listen to that so unless you're like into ASMR like sound stuff which I am NOT we're gonna make a liquid wire while you're kind of doing that maybe you could just answer someone had a question why do you create more than one clean plate for this particular shot so I I tried to address that in the beginning but it's because there's a slight lighting shift and I want it to blend between the two but I don't want to have actually use illumination modeling on this shot and the reason for that is because if I used illumination modeling on this shot for the remove I would pull all of this dark data down into the nice clean light area here because it's right next to an area of high contrast so that's why cool yeah times if your as you scroll through your shot and you're looking at all your frames if there's drastic lighting shifts or depending on the image just once one frame is not going to cut it but that's actually the power of the this remove module with the clean plates is that the way that it can interpolate these these clean frames painted frames across a shot yeah absolutely and it doesn't pixel by pixel you know I'm sorry I hid removed there and I needed to hit track so the reason for that you know is because it's blending pixel by pixel and you end up with really nice results when you're done so once we once we are are done with our shadow track we can actually go ahead and do a really quick rotoscoping track for this hair the nice thing about this is that we can just let's just adjust this really quick perfect and let's just come in here and replace this great and I'm actually going to come in here and actually when he's add and we're going to add a little bit of texture there I don't want to I don't want a straight line all the way across it we're going to take this we're going to call it hair and again I'm going to export my shape data a mocha shape data for After Effects I'm going to turn this off drag it underneath we're gonna save this and close it and then we're gonna paste this data right back over the top so save it close it we're going to take our original plate here we're going to rename this to hair replace and we're going excuse me hair replace with one one E and we're going to make sure we're on our first frame and go to edit paste mocha mask I could also just copy and paste the effect for the for the remove and then use the mat from that and we can actually just come in and make another shape to replace this whole side of the neck as well so what we're going to end up with is something that looks like this so here's our remove here's our darkened hair shadow let's make sure that our remove is on there we are and let's go to you let's get this to you remove well we're gonna drop it underneath that's why are you not rendering let's find out let's go to our oh that's why snake let's just delete these let's go to snake it's gonna remove let's hit render perfect we're gonna save and close that I think we had a caching error so we're just gonna make sure that's removing great we're gonna apply our shadow over the top and we're gonna replace our hair over the top so here's our before and here's our after just like that very nicely done Mary I think this is really you know someone like myself you know comes from you know old-school high-end systems like flame work you know or you know people see nuke artists doing this kind of work but be doing this kind of in-depth beauty work and and you know skin Corrections inside of Adobe is very cool workflow so you know personally I do the combo of of mocha Pro plug-in run-ins running inside of Adobe After Effects makes a very very powerful solution it does and you know if you um if you have any sort of sins that you need to hide in this sort of PT work I highly recommend that you come over here and you use Beauty studio which is a BCC beauty studio and you can use it over the top and it'll do even more to blend your original matte your original little remove painting that you did into the rest of your shot so it'll be completely invisible and seamless so that's really that's a really good way to hide any miscellaneous sins in your remove well while you're bringing up your next example Mary I'm gonna jump in and answer couple more questions mm-hmm as you're doing that example we've had a couple questions about different hosts people have asked if this is working in resolve or fusion and the short answer for mocha Pro running on ofx is that we support nuke we support fusion we support Vegas Pro and we support hitfilm unfortunately the way that resolve is giving us access is the way resolve is set up as the ofx hosts a lot of mocha Pro actually works inside of result but the remove module does not so that's why we don't say that we officially support The DaVinci Resolve with with mocha Pro yet that said I would also point out that anyone here who is using sapphire or Boris continuum plugins that we do have a light version of mochas inside almost every version of all of our tools now so you know inside of resolve you can be running Boris continuum plugins or Sapphire plugins and you can be using the mocha inside those those plugins for effects isolation and masking right okay so the last thing I want to talk about is really complex removes so this is the kind of remove that people look at and they tend to say oh this is easy mocha can handle this right away it's right over a plane except for here's why it's not look at that shadow going over the top that actually completely messes our remove up and the reason for that is because mocha while being really good at adjusting for lighting is not really good at adjusting for lighting when that lighting is super sharp and cutting across my image we treat that actually like an occlusion it's it's and that's really hard to think about because it's transparent but that shadow is actually inclusion same thing goes for really harsh reflections as well think of it in terms of layers you know like transparent layers moving over the top of one another if this was like cell animation you know so that means that what we're going to have to do is we're going to track this background which we can totally track those background no problem but we're going to have to make a pretty complex remove over the top to make this happen you can see that we have quite a bit of layers in here we're gonna talk about how we do this we've got about let's see yeah we got about 10 more minutes so I think I can do this now what we're gonna do is we're gonna track this first so we're going to remove these numbers on the side of the truck just like this and let's talk about it I'm don't worry I'm not gonna make you sit through a bunch of I'm not gonna make you sit through a bunch of rotoscoping I'm gonna kind of already bake that cake for you but I am going to show you how it's done so that's what we end up with when we are done now here's how this is going to work let's take our original layer and let's go ahead and apply mocha Pro drag and drop it right on to our timeline and launch and what we're gonna do is we're going to track this background so we're gonna draw a shape right around our background and we're gonna track this whole thing now I'm tracking the whole side of the car the reason for that in fact I might even actually come over here and track this side of the car as well as much as I can the reason for that is I want to be able to avoid the shadow air I want to be able to lock to this area even though the shadows moving over the top we're gonna track sync translation scale and rotation only and we're gonna hit Trek forward I'm gonna increase this value quite a bit so that we look through the shadow and only follow this texture and we're gonna call this truck track and let's go ahead and turn our surface tool on and align that to the area we're trying to remove just like this and we're going to turn our grid tool on and we're going to hit track forward and now if you've done everything correctly what we'll do is we'll track through this object while focusing on the side textures and not really caring that this shadow is interrupting our track so I want to make sure that makes sense to everybody we are tracking the texture here because we're tracking the texture I've actually gone ahead in turn share in perspective off because this shadow will actually interrupt that and we're going because we basically Moka tries to invent that data where it doesn't belong if you tell it it belongs there so since this is not really tilting a lot in zSpace we're gonna ignore using Charon perspective otherwise Moka would treat this shadow as data that was relevant to that warp does that make sense yeah I believe so yeah okay perfect so you can see that we held through that shadow really really well which is nice so once we've done that we can actually draw a nice top layer to replace this object with so I'm gonna let this finish tracking and then we're going to link a layer right back to this track I'm going to talk about how I set that up what we're gonna do is we're gonna make sure that we hide our remove in the seam on the side of this truck otherwise if we were just trying to remove the small section I would probably remove all the way up to here and then do a soft blend between the two it depends on what your shot is as to how you get to hide your remove so once that's finished I'm gonna turn my grid and surface tool off and I'm going to zoom in so now I'm going to take my X plane and I'm going to draw a shape notice I'm hiding that seam and I'm going to hide along the edge of this shadow as well now this is important because this is going to make my remove work very well so once that is complete I'm going to go ahead and I'm going to call this numbers remove and we're actually going to link this to our truck track and if we need to we're gonna correct our roto shapes just a little bit just like that so that is my nice roto shape on the side of my truck and there's my background track that I'm linking my track to obviously I can't see behind the numbers so now I need to find section where I can see the most of the numbers which is going to be like right here okay and I'm going to hit my remove tab and I'm gonna hit create clean plate and I'm gonna save myself a clean plate now I've actually already baked this cake for you so I'm not gonna make you sit through for that we're gonna close this and we're going to actually jump on a remove over here and I'm going to show you how I set this up so here's my remove layer and there's my background layer and we actually have our clean plate right here from frame 10 all right I've already painted this in Photoshop I use the I use the heal tool to paint the numbers out I mean answer I used the clone tool to paint numbers out A's the heal tool to fill on the texture back over the top it's pretty self-explanatory we hit okay and we're gonna hit render to do our test render and you can see that we are removing the background using clean plates only and using our clean plate now I want to talk about why we do not use linear or illumination modeling here let's find a nice section where we have shadow over the top like here watch what happens if I hit linear illumination modeling most mocha is going to look at all of the pixels around this remove spline and what we're gonna do is we're going to raise and lower all of the pixels inside of this line based on the values of the pixels around it and that's all of the values so if you've ever used the heal tool in Photoshop and seen like you know if you've been like photoshopping something that's a light right next to a dark use the heal tool you get a gray that's exactly what happens here when you use linear illumination model you're gonna hit render and look that is not ideal because it's not quite as dark as this it was not quite as bright as this it's tried to find a halfway value between them not what we want if we hit interpolate and we hit render mocha is gonna try to blend from here to here but again it's not perfect because it's only using these pixels here at the very edge and those are actually darker than these pixels up here because it's hidden in the scene so what you'll end up with is an absolute mess if you end up trying to work that way so we're going to actually go to none and now we're going to render this nice clean side of the truck and we're gonna have to have rotoscope over the side of this truck for our shadows so we're going to save this and close it and now what we're going to do is we're going to render this back to our timeline by checking checking render remove and we're gonna apply the mat for or remove only by hitting apply mat so that's going to be our remove all right now excuse me I'm going to now start to rotoscoped my shadows so here's how we rotoscoped shadows I'm not gonna make you sit through this there is no good way to track and roto these shadows you pretty much have to do it by hand so what this is is hand rotoscoping of the shadows what I did is I essentially let's just hide this for a second cause I found a good place to start on the shadows I drew a nice rota shape around them and I started rotoscoping this by hand so we went to like you know a couple frames ahead moved us forwards you know I used things like the the shear tool to try to you know match this same thing for here and then adjusted the pixels a hand on the fly over and over and over again so really exciting stuff it's just the kind of thing that you got to do by hand so what we've done is we have made these lovely rotoscoping shapes for our shadows just like this and they don't have to be perfect but what they do have to be is they have to be right in line with where the top of the shadows break so you see how this is following this edge perfectly we don't care about this edge we care about this edge and below in this edge and below okay so we're going to save this and we're going to close it because I think this talked about mmm 20 minutes or so to I think about 20 minutes to rotoscope maybe 30 and you don't wanna sit through that so now we're going to apply our met right to our time line and I do want to point out one thing Frost we have any questions while I'm doing this yeah no I think there's been tons of questions but really really positive comments coming in Mary so I think you did an amazing job you know we've covered so much in such a short time it's really cool to see a more in-depth example like this one where you're removing an object but you also then our comp comping the the foreground or comping the shadows back on top with some opacity very very cool stuff okay there's been a lot of questions about MOCA VR and sort of different sales questions just wanna iterate that MOCA VR it well basically everything that Mary is showing object removal on regular regular video does work in 360 video and you would need MOCA VR for that MOCA VR is available as upgrade if you already own mocha Pro um just to be very clear if you own mocha VR you basically have all the features in mocha mocha Pro you don't need both so mocha VR is the top-of-the-line that hat you know you can use that for 360 footage as well as for for regular footage alright yeah let me see if there's any other questions there's a question that kept coming back about interpolating clean plates I think that we've determined that that's a feature request to be able to to manually say exactly which frames clean frames are interpolated where and when in time but beyond that I think we're pretty good ok perfect well thank you for for answering those while we were worried about that so what we can do here is we can start to create a shadow over the top of our remove so hmm so here is our remove okay and you can see it's right over our original plates now we're gonna apply our shadows over the top we can do this one of two ways we can either duplicate our layer or we can apply our mat so I'm gonna just go ahead and copy this effect really quick and we're going to go to I'm just gonna do a new solid as opposed to a fill and we're gonna do a new solid I'm going to select a nice shadow color just like this and we're going to paste our effect we're going to met and we're going to go to apply our mat over the top so here's our our shadow Matt's right here let's let that catch up one thing I want to point out about our mats is that we are actually using motion blur on this so if you go into your effect you can come in here to your uber key you can actually apply motion blur to your layers so what you'll see here is that we are applying that motion blur to our mat so we get that motion for free so it makes it match a little bit better all right we're going to take this and we're going to go ahead and we can use a soft light or we can use a you know a multiply to put our shadow back over the top it's gonna depend on what your preference is for your blending mode I'm gonna go back to soft light and yeah how many use multiply I'm just gonna take this value down we're gonna go to transform and I'm gonna take the opacity down on this to like maybe 50 all right okay so now what I'm going to do is I'm going to actually further isolate this mask so we're gonna actually go to our original remove and I'm going to select my remove roto shape and I'm going to actually export our shape data I'm gonna do mocha shape data free after-effects copy clipboard I'm going to go to layer new solid doesn't matter what color the solid is good to move it up here we're gonna go to our first frame we're gonna do edit paste mocha mask and you can do this a bunch of different ways you can um you can also use the intersection of the masks to do this but I'm going to show you how to use track mats we're nice an alpha mat to isolate this so now our shadows are limited to this section and we can actually start to adjust our values a little bit better now that we can see them not stacked on top of one another so let's see what this looks like a hundred percent okay I'm feeling pretty good about that but what I am also going to do is I'm going to go to i layer solid settings and I feel like I just want to pick a slightly different color for my solid make sure that I'm using the right color now I'm still not happy from here to here so what can I do I can go to effect and I can go to generate and we're gonna do a quick little ramp where's my ramp I'm just going to find it gradient ramp that's what it's called drag and drop it on to our effect we're gonna do a little begin point and end point I'm going to select my color here and there and that's gonna give us a little bit more realistic shadow matching okay let's do like a 90 percent way better okay so now my shadow is nice and matching on the top of my object and now we can do is we can actually blend this this back over the top okay we can start to blend this back in with the rest of our shot now that our shadow matches so all we've done for that is we've actually just gone ahead and added our lens flare back in over the top of our shot we do that by just doing a quick little mask here and we're linking this to our original track that we made right we're saving that really covering that because people a couple times people are asking about link to track so I like the weird showed that that you already had the car tracked you know you don't need to retrack it so you just you just wanted to link that new mask shape to the same tracking data right it's the exact same thing that I did in a previous version so you know I've got my I've got my my two shapes that I wanted to make and I've got my remove track here on background we just take this and then link to track we can link it to the remove and that's that so now we're compositing all that back over the top what we end up with is here's our original and here's our remove so that is how we would tackle this really complex effect and you know I talked about where we would use illumination modeling where we wouldn't where we would have to rebuild shadows and where would what is appropriate for this sort of remove how you do clean plates we really hope you guys enjoyed this because that is a start to finish break down the remove module yeah Mary that was a really excellent example I really appreciate this one because people are always asking us you know they see some of the simple removes that we do but to see like a more real real world example like this you know where you're removing that logo retaining the realistic shadows with motion blur on top of it really awesome job I also really I appreciate the way that you know you kind of used mocha Pro plug-in as almost like a little Swiss Army knife and and came back to it for different a couple different you know masking remove all in the one the one comp so that's very cool thanks well you know I I really think that if you use mocha every day you know if you use it on everyday shots not just like a fire extinguisher if you use it all the time you will get used to using it and you will double your workflow you'll be so much faster it's because you use it for things like masking use it for things like quick tracks you use it to link things back to one another and you end up saving yourself a lot of time because you don't have to read it do those steps over and over and over and over again and another thing that I want to point out is that a lot of times people think the remove tool is magic the remove tool is not magic it does exactly what you tell it to do it's just important that you give it the right information to help you finish your shot yeah exactly and I just reiterate kind of what you're saying because we both of us go on site and meet a lot of users and you know when you invest in yourself and kind of learn some of these core features ultimately you're gonna just have a have skills and a way to handle more shots so I think that this webinar is really great and we're getting great feedback from all the users and Mary you're very well loved because many of the users that are saying they hope you feel better and they're very impressed that you've been able to handle the this webinar you know with your cold and everything so thanks this point I would just kind of reiterate a couple cool things about this webinar number one is yes we always record these webinars and we we share the replays typically they're on our way cite our vimeo our youtube and our facebook pages within you know really within 48 hours we'll have the the the webinar replay that way you can go at a you know take your own speed if you want to review any of the topics that mary covered since we're running out of time just going to say that we are going to be announcing the winners we're gonna send the winners to the the prize winners directly will also announce that on our social media as well so thank you all remember you can always check out mocha Pro and mocha VR or any of the other tools on the Boris effects website you can download them you can try them for 15 days and you know we're here to help so feel free to get in touch okay thanks a lot Mary all right Thank You Ross bye bye

Channel: Boris FX Learn

Views: 33,802

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Id: 9Oi3jX5kdHY

Length: 66min 51sec (4011 seconds)

Published: Thu May 24 2018