Remove a Logo from MOVING CLOTHES? | After Effects Tutorial

[Music] how is it going guys and welcome to the olufemi channel we're a group of teachers that want to shore up your video production skills in as little time as possible today hermann aka coffee liquor is going to be showing you how to replace or remove graphics or logos on shirts yo it's herman here and today we're going to learn the incredibly powerful power mesh tool in mocha pro and how we can use it to either erase or replace graphics on a shirt have you ever shot something only to realize that there was a logo in there that you couldn't include and then maybe your producer walks up to you and he's like hey let's just um throw like a disgusting mosaic over it so we don't get sued so instead of censoring things with an ugly blur or a mosaic like we're still in the 90s let's learn how to completely erase them from the shot of course it's not limited to just fabric but i do think it's a great example because of the way that the surface can warp and stretch so i hope you guys are excited as i am because honestly it just feels like magic when you do it now before we get into everything what exactly is power mesh and what is mocha pro don't already have mocha if i have after effects installed i've actually made a tutorial already on the olofemi channel that talks about tracking creative filters on someone's face using the power mesh tool and going fairly in depth to it but if this is your first time hearing about it don't worry i'm going to try and explain everything as clearly as possible what it is let's first talk about mocha now the mocha that's been included in after effects for many years is called mocha ae and it's known for its killer planar tracking planar tracking means that it excels in tracking flat objects like walls billboards screens you name it now mocha pro is the paid version that's basically on steroids with as many additional features such as advanced rotoing object removal stabilization just to name a few it even supports running in premiere pro so you can do your tracking and masking in there instead of going back and forth between after effects it's better than natively masking in premiere pro as well because when you try it it just makes you want to quit video editing to be honest okay so you know the difference between mocha ae and mocha pro now but what exactly is power mesh power mesh is a new feature in mocha pro 2021 that uses its incredible subplanar tracking that now lets you track warped and uneven surfaces okay herman what does that exactly mean so instead of just tracking flat objects you can now track more organic objects things like someone's face their skin fabric things that will warp and stretch and if it seemed impossible to track these things in the past it's now a breeze with how fast and accurate power mesh is there are just so many things you can do with power mesh but today we're going to learn what i believe is one of the most practical applications you can do with a tool and that's to completely erase something from live moving footage now a quick note if you decide that mocha pro is for you while watching this tutorial stick around to the very end so that you can get an exclusive discount coupon code so that you can save money from any boris effects application that includes mocha pro for now let's head over to after effects and get started now before we begin i want to quickly mention that if you want to follow along but you don't have your own footage don't worry we have you covered you can download the project file that i'm using and also the footage that i'm using in the description below so check that out but i do recommend that you first watch through the entire tutorial once so you get a better understanding of what's going on and then try following along with the provided project file alright let's begin so inside after effects you want to make sure that you've imported your clip in this case i put it here in this tutorial folder i'm just going to drop it into this icon so that it makes a new composition all right let's drop it in like it's hot and then now we're going to apply the mocha pro plug-in in this case i'm going to pull up the effect by hitting the shortcut control space bar which brings up a free plugin called effects console by video copilot which is a free plugin saves you a bit of time from going all the way to the effects and presets panel and all i gotta do is type in mocha like this and i'm gonna choose mocha pro and i'm gonna click this big shiny mocha button right here to begin everything it's going to give me this little warning saying that it's not at full resolution right now and it might be faster but it's not going to be as accurate and if i want to continue in this case i'm going to cancel because i'm going to actually change the resolution over here right now it's set to half resolution we're gonna go to full and then when it clicks again there will be no warning and then we're just gonna wait for the interface to pop up all right and we are now in mocha pro look at this beautiful interface now right now the workspace is set to classic however when you are first uh opening up mocha it might be set to essentials and look kind of like this so you're missing all these other tools so just make sure that you change the workspace to classic so that you can see all the parameters that you're going to change and now we're going to determine what areas you actually want to track so whatever you want to actually track which in this case is the logo make sure you watch your footage and see if there are any occlusions so i'm just going to scrub through like this and what that means is is anything going to be blocking or going over the logo so is my hand going to go over it is my arm going to be you know waving around and being weird uh in this case it actually never overlaps and the only time that's close is something like this but it's like nowhere close so we don't have to worry about it but if that was the case what you would want to do is to first track the occlusions so let's say that this hand was covering the logo what would happen is you would want to actually track the hand first and then it'll basically tell mocha that it will omit this when it's tracking what you actually want to track which is the logo in this case okay now let's pretend that this hand is you know covering the logo for whatever reason we're going to take this pen looking tool which is called the x spline tool over here the one with the pen and the x we're going to draw over the hand that would you know cover the logo even though it's not in this case but just to show you what you should do then you're going to track backwards and forwards until you get everything now in this case it stops here because there's some motion blur making it a bit harder to track but i'm just going to show you basically what to do so let's say that's the occlusion okay that is the thing that blocks the logo we're going to call this hand oops not ham oh my god i had dinner already why am i still hungry and writing him what you do next is draw around the area that you actually want to track which in this case is the logo like this and then you would kind of track forward and backwards but you would want to make sure that this logo layer in this case we'll call it logo you would want to move that underneath any occlusions and then you can just stop this gear icon so that it doesn't continue uh analyzing and then you can track forwards and backwards like what we did before but on the thing that you actually want to track hopefully you understand what i'm getting at basically track the things that block over the logo first make sure any of those occlusion layers are on top of the actual thing you want to track so in this case i'm just going to delete everything trash icon now we're going to start from scratch and i'm going to start from a neutral frame basically a frame where i pretty much see everything somewhere around here is pretty good because i start seeing the letters of the logo over here if i start here then it would start tracking without that information so i kind of want to make it a little bit easier for mocha so i'm going to start right here i'm going to take the x spline tool remember it's this pen looking tool with the x over here i'm going to draw around the logo like this okay just like that just a few points extend it just a little bit so there's a bit more information but the power mesh tool is actually quite sensitive so you don't have to kind of expand it way too much just like this is enough and why don't we just call it logo or organization sake alright here's where it starts getting a little bit hefty and information because i'm going to go through what each parameter does that affects your power mesh track let's look at the parameters below and go through all the things that we want to click and check off and of course why we're doing it so those of you who work with mocha ae will already be familiar with the ones up here which is translation scale rotation shear and perspective but there's a new one over here called mesh and that's the one that we'll be clicking and using today so we're just gonna click that we can see the mesh created and the vertices but we're not gonna actually use this automatically created one and let's look over to the right over here so starting with generation mode as automatic implies it'll automatically determine where to place the mesh points based off the pixels in your footage so this is usually good for smooth objects or the skin on your arm or something or more rigid patterns that are constant now if i zoom in to take a closer look by the way that's a shortcut z and i'm just kind of clicking and dragging upwards to zoom in closer and then i can click down and hold and drag downwards to zoom out so that's how you zoom in and out you can actually manually add points by clicking this button over here edit the track mesh and then you can click this which is add track mesh vertices and as the name implies you can add a couple more vertices if you need more information but i'm just going to ctrl z to undo everything sorry i'm switching between canadian and american z and zed but hopefully you understand now since we're using fabric what we're going to do is we're going to change it to uniform so right now it's automatic we're going to change it to uniform and we're going to clear the mesh which basically means it's going to erase the mesh that was created and if i click generate mesh it makes a new mesh based off this new change that we made and as you can see it looks different from the automatically created mesh and as you can see there are more vertices and they're more evenly distributed and this is best for surfaces that'll warp around like your face or fabric or may not have a lot of texture so now that you know what the difference between the two generation modes are let's talk about mesh size what does that mean basically it'll determine the distance between your vertices so if the number is lower that means the shorter the distance between your points a larger number means there are less vertices since the distance is bigger you want to adjust it depending on the resolution of your footage let me show you the difference i'm just going to kind of bring this up okay something like 55 i don't know i'm gonna clear the mesh and then regenerate it like this and as you can see they're farther apart which means that there are fewer vertices if i change it down to a lower number that'll decrease the distance so if i clear the mesh and generate it again as you can see there are more vertices because they're closer together now this is a little bit too much although i'm using ultra hd as the resolution for this footage that i'm using so i'm going to clear the mesh i found that something like i don't know around 25 26 is pretty good so we're going to generate the mesh and as you can see we have all these lovely points all these vertices in this power mesh that we've created now let's go to the parameter below which is vertices on spline and basically what that means is as you can see there are vertices that are created on the x spline that we drew around the logo earlier so if i just kind of hide the mesh which is this button here it says show track mesh but it's clicked so if i click that again it'll still show it and that's because i have these tools highlighted so if i click something else like this this pick tool then it'll hide it and this is the spline that we drew earlier so that means vertices will be on spline and let me show you the mesh again now if i clear the mesh and i uncheck that what you'll see is that the vertices will be inside the spline instead of being on the spline so this is a little bit neater but it really depends on what you want to include when you're tracking with your mesh in this case i want a little more information so i'm going to click that and clear the mesh and generate the mesh with the newly changed parameter right underneath it is adaptive contrast and you use that for footage that doesn't contain a lot of detail it'll basically boost the detail up in your footage when creating an automatic mesh for a better track but in this case the footage is pretty well lit got quite a bit of information so we're okay without it and underneath it these buttons as i mentioned before generate mesh will just make a new mesh and then underneath that is clear mesh which will basically clear the mesh it'll just delete the mesh like this and then we hit this button again if we make any changes to create a new mesh that's basically what i was doing when i was showing you the differences between the different settings all right we're almost there let's talk about smoothness and what that means smoothness basically determines how stiff the movement is for your power mesh to track can either lean a little more on the planar tracking data or the sub planar tracking data probably want me to speak english now so let me kind of give you an example to make it a bit more clear for you if your object doesn't warp around a whole bunch say a piece of paper it'll still warp but it isn't super fluid and constantly moving so a higher value would be more effective if you're tracking something like water where it's constantly warping a lower number does the trick in this case we'll go with the default 50. that'll work for most cases and forever unsure you can just click this auto smoothness and it'll determine for you now last thing i'll talk about is this warp spline over here now warp spline doesn't actually matter in this case but it'll basically warp your spline that you drew to remain on the edge of your subject but as you can see i drew it kind of around this logo but if i were to say you know draw around the shirt for example it has a pretty definitive outline normally in mocha ae if you were to track it it would kind of drift depending on how you tilt your body or if there's any movement because it'll keep the same dimension of your spline that you drew but warp spline would make your spine more tapered to the edge of whatever that you drew over again not something we need to worry about in this case alright i hope you're doing okay so far because we just went through quite a bit of information it can be a bit overwhelming at first but when you play around with each setting and see how they affect your track it becomes a little bit easier to remember what they do and how you can adjust them the next time once you've generated your mesh let's start tracking by hitting the track forward button so in this case that is this button over here track forwards and then we will let mocha pro work its magic all right mocha pro is done working hard and once you're done tracking you can play it back to see how well it did and just like this let's just zoom in a little more so you can see the details and as you can see that power mesh is sticking onto that shirt and logo so accurately now something to watch out for is seeing if there are any vertices that drift off now in this case as you can see because this is so close to the edge of the frame it's getting a little bit wonky but that's kind of my fault because half the design is kind of being cropped out of frame if your logo is kind of within the frame the entire time then you have to worry about this but in this case it's a perfect opportunity to show you kind of what to do if your vertices get a little wonky like this now if you want to manually adjust all you have to do is click this which is edit the track mesh that's what we did earlier and basically you can move the vertices however you like to manually move them and just like keyframing in after effects what we're going to do is we're going to keyframe the moment before that happens i'm just looking at this vertices right over here that's the culprit of making things kind of odd go back to where it's normal i'm going to click this which is to add or remove a keyframe in this case because there's no keyframe here we're going to hit that and it's going to add this green dot which is a keyframe zoom in and then we're going to go one frame over like this and that's when i'm just going to move this vertice kind of over here which is kind of where it was earlier i can just roughly estimate right now because it's out of frame it doesn't need to be super accurate but in most cases if your logo is in the frame and let's say like we want to move this vertice or something like that actually let's move like this one this one has a better visual reference you would just make sure that when you're scrub through that as you can see this is doing a really good job sticking to it but if it did shift around kind of like this or that then you would just make sure it matches the same location throughout the track so going back to this vertices over here i'm just going to take a look and oh something weird kind of happens and that's because uh it's going out of frame so that's when it gets a little bit weird but even if it's a little bit weird like this when it's kind of out of frame what i do later on is i'll just kind of crop this area if it gives me a bit of trouble but overall i'm really happy with the results especially this area where you can see all the vertices stick so well to it but as you can see there's a little bit of drift over here okay and that's because this um if i just kind of hide everything which is this enable overlays i'm just disabling all the overlays if i scrub through it you can see that there's a bit of shadow that's introduced on the shirt so that can be a potential problem but in most cases it's really not if that's the case though what you can do is use the technique that i taught you earlier by isolating the occlusions and tracking them first so in this case if i was really bothered by this i would just take the x line tool and draw over that shadow and basically it would tell the tracking for the logo to kind of omit that occlusion but in this case i'm not going to worry about it because it doesn't directly affect my logo very much and i can still do a great job erasing this okay so we've got this awesome tracking data in mocha pro but what do we do now we're going to reverse stabilize the area that we tracked which in this case is the logo area of the shirt and we're only going to stabilize that portion it probably sounds a little confusing so let me just show you first let's go to the reference frame so make sure this pick tool is clicked so that i can scrub through my timeline like this i'm just going to click the logo so that shows up any keyframes and in this case this is kind of where i started tracking everything that's my reference frame that's where i believe is the cleanest visual for me to reference from and when that happens this is a pretty important step what you're going to do is you're going to click this over here it's like an s in a blue box and what that does is show the planar surface when i click that you can see that there is this blue box it's kind of hard to see over all this mesh so let me just hide that this blue box appears like this and the next thing you'll want to do is click this which will expand the planar surface so what that does is expand the planar surface so that it matches the dimension of your shot and it's important that you do this step because if you miss it then it'll be a little bit weird when you uh do the next step speaking of the next step let's go to the stabilize tab right over here i click that and we're going to pay attention to this warp mapping over here we're going to click mesh warp so that enables the mesh work then we'll make sure that unwarp is clicked right here over here i'm going to go over here where it says draft we're going to change it to high so we want the quality of this warp to be high and if i scrub through this check out just this area where the logo is might be a little slow because i'm using ultra hd footage but if i just kind of scrub through it and show you a couple frames as you can see just that area that we have the power mesh is completely stabilized so it's not moving around with the rest of my body and this is what's going to make it easier for us to erase the logo it's important that over here before you go back into after effects you save it before you exit mocha so hit ctrl s in this case for save and wait for it to actually finish it'll show this loading bar over here i'm going to hit it one more time just like this ctrl s it'll say auto saving project and give you this loading bar and why i stress this is because there's been a couple times where i tried to save this at the same time as i close it so mocha was like what are you doing stop so i just froze and didn't save any of my tracking data that's why i want to give you a word of warning to just be a little more patient than i am and wait until it's actually done saving and then now we can exit mocha and go back to after effects so at this point what i'm going to do is i'm going to take this layer i'm going to hit ctrl d so i duplicate it just so i have this layer over here that i don't touch i'm just going to call it base layer i'm just going to hide the visibility and that's in case anything goes wrong i have the safety layer over here that i can refer to but this is the one that i actually want to use we'll rename this to something like stable since we'll be stabilizing it and we're going to go over here to the mocha pro effect over here and we want to go all the way over here to module renders we're going to click render which will render what we did in mocha i'm going to change the module to stabilize on warp like this okay set the warp quality to high and now while making sure this mocha pro effect is highlighted i'm going to hit ctrl c which will copy the effect okay and then we're going to make sure this layer is highlighted and we're going to hit ctrl shift c and that will pre-compose the footage okay we're going to move all the attributes into a new composition like this and then we're just calling stable and then pre-comp like this hit okay and then now it is pre-composed so it is in its own composition but we're going to hit ctrl v to paste in the effect that we copied just now so now they both have the same effect but here's where the reverse stabilization happens so the footage that's in this precomp is unwarped so what we're going to do now is go to module renders and warp it back by hitting stabilize and warp and that'll kind of reverse the process so basically if i play through it sort of i'm just going to scrub through it really quickly because it might be a little bit slow with a high resolution it looks like nothing happens to my shirt and that's exactly how we want it because all the changes that we'll be making will be inside this precomp so let's double click it to open it up and as you can see it stabilized the logo because that's the area that we drew our power mesh over and here we go guys this is where the fun begins because we're going to erase this logo in photoshop now i recommend using photoshop because it's more powerful than say using the content aware fill over here in after effects i found that instead of relying on its content-aware algorithm i want to have a variety of tools to clean things up so i'm going to go to the reference frame or what i believe is the reference frame i think that's actually over here because i see all of the graphic and it's pretty unhindered and we're going to save this frame as an image either as a psd or you can export it even as a png with the effects console plugin that i mentioned earlier if you do that just make sure your resolution is set to full so how you do that is hit the shortcut to bring it up and then you would click this to export the frame but if you don't have that plugin don't worry all you have to do is go to composition and then we're going to go to save frame as and then you can write file and it'll automatically save it into a photoshop file all you have to do is change the output to somewhere you want to save it and we'll even rename it to reference frame like this and then we just have to render it out it'll only take a second actually it took zero seconds and we're gonna open it up in photoshop so once it's in photoshop what we're gonna do is we're gonna duplicate this layer by hitting the shortcut ctrl j like this and then we'll just hide the background underneath and then just make sure this is a rasterized image by default it right now is so you don't have to worry about it but if it's not for some reason then you just click this rasterize layer we're gonna go to the lasso tool over here looks like a lasso and we're going to draw the area roughly where we want to erase so i'm just going to zoom in over here and then i'm going to draw around the area that i want to erase and be a little more forgiving with the area too if i like but just like that the area is selected and now we're going to go to edit go to content aware fill and we're going to rely on photoshop's content aware fill but take a look at the preview now there are a bit of weird folds over here but overall it's doing a really good job you can always adjust it by using this brush over here and just removing any areas for example from but i'm actually okay with this i'm just going to change the output too instead of a new layer i'll just apply it to the current layer and hit apply and then we're going to hit ok and then we're going to deselect from that area and then i'm going to fix up the areas that i think look a little bit odd and how i'm going to do that is i'm going to use this tool over here the spot healing brush so i'm going to zoom in make this a little bigger by hitting the right bracket left and right brackets will change the brush size i'm going to draw the areas that i think can blend a little bit better i'm just going to remove this fold because it seems unnecessary and then we're going to draw the areas that look a little bit wonky and as you can see it's keeping the texture while erasing the areas that i don't want and just like that if i zoom back out this looks pretty clean i can always make some further refinements but i'm not going to get too picky here because it's just a tutorial but the more time that you spend on it the better the results so what i can do now is a control s to save this psd file and hit ok and then once it's done saving we're going to close it and go back to after effects so we're back in after effects here and i'm going to import that reference frame that i saved earlier so that was over here erase logo frame and we're going to double click that it's going to give me this pop out and it really doesn't matter too much which one i choose but we're just going to keep it as a composition and retain the layer size and as you can see it is a composition over here boom as you can see the graphic is completely erased from the shirt but only for this single frame let me just put these two in the tutorial folder like this and let me show you what to do next what you can do is you can hide this layer and then select it and then take this pen tool over here and you want to mask around the area that you want this erased logo layer to overlap and cover the design now that's one way to do it but another way that i want to show you with mocha pro is that if you go back to this footage over here go to the effects window and then you can see the mocha pro effect you can go to matte and then you can actually use the x spline that you drew in mocha pro and use that as a matte so in this case what i'm going to do is i'm going to create ae masks so what that does is it's going to create a mask based off the x spline area that we drew so if i hide this top layer you can see what it's done like this and then what i can do is create a new solid by hitting ctrl y and that's the shortcut to bring a new solid in and we're going to call this matte like this i'm gonna click this layer and hit m to bring up the mask i'm gonna highlight that mask and i'm gonna hit ctrl x and that's gonna cut it away from that layer and then i'm gonna click that mat i'm going to hit ctrl v which will paste the mask over to this new solid over here and what i can do is i can hit f to bring the mask feather i'll feather the edges and blend it a little bit better and then what i can do is change the blending mode over here now if you don't see this you'd have to click the toggle switches in mode which will show you different parameters like this just make sure that you see this blending mode and we can go to stencil luma and what we basically did was create this cookie cutter so that everything within this mask is showing in the composition and everything else will be transparent and this will affect anything that's underneath this layer that includes this layer here that's sandwiched so if i click that on like this it'll be affected by the mask and if you click this arrow over here to collapse the mask and then open it back up again by clicking it again you can actually expand this a little more if it's not covering everything that you need because with the mask feather being adjusted it could reveal a little bit of the graphic underneath so what you can do is go back to that main layer and we're going to turn the visibility of this bottom layer on like so because right now it's only isolating the area that we did in the precomp so we're going to make sure that the bottom footage is visible so we can see everything else and then this is just slapped on top and if we play it through this is what you get i'd honestly give this a passing grade and not think that this was anything else other than a white plain shirt now of course upon closer inspection there are areas that you will want to manually fix up a little bit so in this case as you can see it's starting to leak out from this shirt which is kind of odd right but all we have to do is go back to that precomp and we can make adjustments to the mask and if you don't want to go back and forth between your two compositions what you can do is actually lock this window by clicking this lock icon over here and just like that it will lock it and then you can click this stable precomp which was where we want to make the edit and you can see both windows at the same time and see how they directly affect each other so for example if i were to just kind of highlight this area which is where i start kind of seeing it drift around it will live update on this end and you can see the changes right after you make them now in this case because there are so many of these keyframes what i would recommend doing is just deleting some of the keyframes around it and just making sure that you are just keeping the important moments like this and then make the adjustment over here [Music] and the lovely thing about keyframes here is that it'll automate the rest of it the rest of the motion and fill in that gap automatically so you don't have to keyframe every frame and if i play it through just like this you may notice that we start seeing a little bit logo here and that's because of the mask feather so you can always do the same workflow as what i showed you earlier you can delete some keyframes around it and then you can just kind of move it so that it will actually cover the logo and like that just to give you a really quick and dirty example but essentially it's as easy as that to completely erase a graphic from a shirt now i'm going to close this window i'm going to unlock this window as well and then just go back to the main composition over here and if you compare this with the original footage you'll notice it's a little bit weird so let me turn that on and off so although it's doing a great job erasing it you'll notice that it doesn't keep all the shadows underneath so if i just kind of scrub through this footage there's not a lot of shadows over here but if you just pay attention to this area over here if i just zoom in and then i scrub through it you can see that some new shadows are being created over here and some new creases of my shirt are more apparent but if i put the cleaned up shirt frame on top you know it doesn't retain that anymore something quick i want to mention is that if you are actually erasing a logo or graphic or something like that and they never see the original footage in the first place this is actually quite acceptable because they don't even know that there's a logo that they were supposed to look for and this isn't where their attention is but i do want you to get in the habit of thinking that details do matter so i'm gonna show you a quick and dirty way of faking shadows in the way that i've been doing it so i'm gonna go back to this precomp over here and then i'm going to turn off these uh this clean layer over here and then using this kind of as a reference i can see when that shadow is uh appearing in the frame like this okay and i'm just going to use this area i'm going to try and replicate this shadow and basically whatever i teach you right now you would apply to whatever other shadows that you would basically want to fake or recreate so i'm going to right click in empty area like this go to new go to adjustment layer and we're going to rename this and call it shadow like this and then we're going to take pen tool right up top over here and we're going to draw an area when i draw a mask where we would want the shadow to appear so i'm just drawing this kind of triangular area like this where the shadow appears and then if i hit f to bring up the mask feather i'm just going to roughly kind of do this okay and i can adjust this as i go later but i'm going to apply an effect okay it's going to be curves like this i'm using that plug-in that i mentioned earlier and we're going to just darken the area a little bit like that and of course that's darkening you know the existing shadow but this is going to be applied to the clean shirt once i turn that on like this okay so this is before and this is after right and we're just going to kind of fake that shadow and then change the mask to something that we think is reasonable and actually looks like a shadow and i'm going to change the darkness to somewhat match the same tone as what we had it uh when we actually did see the logo so as you can see kind of like that uh it does look like it's a little bit darker so i'm gonna keep it a little bit darker and it does look like there's a bit of sight and and a little bit of blue kinda like this okay so if i turn that clean layer off and on now there are of course still some refinements that you want to make so as i mentioned before the more time that you spend on these details the better the results but i'm gonna pretend that this is actually not bad of a job and basically you would do the same thing with the other shadows that you want to recreate so i'm going to turn that back off so i can see the graphic and let's say that i want to you know add kind of this soft shadow on this side over here like that okay and then if i turn that clean layer back on as you can see it's just as dark as the one over here but we turn that off this is actually sorry let me turn off the shadow as well this shadow doesn't seem as dark as this one so what we can do is we can go back to the shadow layer over here turn on the clean layer and then what i can do is go to this arrow for mask 2 and then we can change the mask opacity to something lower so it's not as dark as the other one kind of like this so it's still apparent but not as dark and then if just like before we can just play with the mask feather go something like this and then once the feather is up the shadow doesn't seem as apparent so we'll bring the mask opacity back up and as you can see you've essentially made some fake shadows and just like the shadows that appeared over here it's not constant right and also the shape of it seems to move a little bit so what you can do is just like animating any other mask let's turn these back on i'm going to hit m to bring up my masks you can keyframe them and you just mimic the movement maybe something kind of like this and then what you can do is also animate when it appears so you can change the mask opacity to 100 right now but it actually starts off as zero because it hasn't appeared yet kind of like this so it looks like that new shadow is reappearing just like the one that was over here and you can always keep this layer on and keep everything else off but hit m and then kind of keyframe based off what you see over here and try and match it and if you really want to match it well what you can do is use that locked window kind of workflow that i showed you earlier to compare before and after so let's go back over here okay we're going to lock this window we're going to go and hit this so it opens up the window for this precomp like this and then we're going to turn this back on and also the shadow and as you can see it live updates the shadow over here as well so you can see if it actually matches with the rest of the shirt with a little bit of patience this is what it ends up looking like and even then i didn't spend that much time on it so it's not perfect but it doesn't have to be because as i mentioned before the end viewers of your vfx shot won't have a direct side to side comparison like the split screen that i'm showing you here but congratulations because you are done that's how you completely remove a graphic from a shirt or any kind of fabric in your shot you can even use the same technique to remove a tattoo or scar or blemish on someone's body now let's talk about replacing it with your own graphic it's almost as simple as dragging and dropping your own design onto the shot so i'm just going to unlock this again we're going to close this window and with all the groundwork that's been done with the whole reverse stabilization process and the logo removal let's drop one of the graphics over here which is from my digital products called enter the future if you don't know what that is enter the future is a motion graphic asset pack i handcrafted and includes a variety of assets you can use for your music videos commercials live streams narrative films you name it if you need transitions borders or custom text animations to give your video a modern edge i recommend checking it out but we're going to use this clip over here and we're going to actually use it as a as a graphic as a still image so i'm just going to right click it hit time i'm going to freeze frame just so it's not animated because originally it is animated so now it is not and i'm just going to change it so it actually makes sense so right now it's white so i'm going to add an effect called invert and that will invert the colors like this i'm going to reposition it and rescale it so it looks like it's actually on the shirt now in this case i'm going to turn everything that i did off except for the original logo over here and then i'm just going to use that as reference for me to reposition it let's say something kind of like this over here we're going to turn everything back on and once i'm happy with the general position what i'm going to do is i'm going to add a mesh warp just like this oh we can spell it just like that and we're going to change the rows and columns to something lower like four and what i'm doing is i'm recreating some imperfections and warp on the design so it looks like it's actually on the shirt because as you can see if i just kind of solo this layer here this logo isn't completely flat and straight on to the viewer or the camera it's kind of warped to the side it looks like it's part of the shirt and actually it's better to match it to the reference frame so kind of like this it's still a little bit warped as you can see so i'm going to bring up that logo like this and by the way what i'm doing is i'm soloing the two layers so i only see those two layers and nothing else and that's this circle button over here so you just want to make sure that's toggled and then i'm just going to warp it not going to go too crazy with it though if i have everything back on like this it looks kind of like it's on the shirt which is nice but once i'm happy with the changes i've made over here i can go back to the main composition and see what it looks like updated with the new graphic and then playing it through in real time as you can see it keeps all the warps and the position and the motion of the track that we made to make it look like it's actually stuck on the shirt now of course there are refinements that need to be done but this is looking amazing already now depending on the design of your shirt you may want to change the blending mode of your graphic so it doesn't look kind of slapped on like uh how it is in this case actually so most of the time you can change the mode to something like multiply and that usually gives the best results and if it looks like a graphic that's slapped on a shirt digitally which is exactly what's happening in this case what you can do is you can change the opacity to something a little bit lower so let's say something like 80 actually and then you can add a fast box blur and just change it to something really small very minute like 0.2 make sure that maybe even a little bit too blurry let's do 0.1 just to get rid of some of that sharpness and then that way it actually looks like it belongs on the shirt and of course if i want to change the color to something else let's say i'm going to add a fill okay right now it's red maybe i want something like uh i don't know like a dark dark blue like this and if i play it through as you can see it's doing such a good job sticking onto that shirt i'm just gonna go even a little bit closer so you can admire that work and this is actually a pretty rough job so let me show you what it can actually look like once you put a little more time in [Music] that's it guys that's how you use the amazing power mesh tool to either completely erase or replace graphics off a shirt as i mentioned before this isn't limited to just shirts you can add graphics onto other pieces of fabric or you can do cosmetic touch-ups like removing blemishes scars tattoos or you can even add them in for narrative purposes power mesh is only one of the many incredible features in mocha pro and because we love you guys we're going to give you an exclusive discount coupon code that you can use and save 15 off all boris effects applications that means you can get mocha pro for a fraction of the cost all you got to do is click the link in the description and enter this coupon code right here i wonder how long i should put this on for that's it guys i hope you found this tutorial useful and that you get to use this new technique because now you really can fix it in post just don't tell any directors that make sure you stay tuned to the old family channel so that you don't miss the next tutorial from the other amazing instructors and myself now if you want to stay in touch and see what i'm up to then check out my instagram the handle is at coffeelicker so until the next time again my name is herman and let's bring it back over to josh guys we have finished yet another incredible tutorial thanks so much for watching and as always remember to keep it short you

Channel: Olufemii

Views: 8,787

Keywords: powermesh, after effects, mocha pro, tutorial, vfx, vfx tutorial, after effects tutorial, mocha tutorial, removing logos, replacing logos, video editing, premiere pro, premiere pro tutorial, video editing tutorial, powermesh tutorial

Id: feGRIWSkkxM

Length: 37min 16sec (2236 seconds)

Published: Thu May 13 2021