ROTOBRUSH 2! DID AFTER EFFECTS JUST GET WAY BETTER?! + VFX EDIT BREAKDOWN

[Music] have i ever told you guys how much i hate rotoscoping if you don't know what rotoscoping is it's when you isolate a section of your clip so that you can put stuff behind it i talked about it in my last after effects video which you guys seem to have really liked typically it is done with masking there's a few ways to do it you can either draw a mask around the whole subject or you can draw and track masks around portions of your subject and then within like the last five six years maybe after effects introduced the rotoscope brush which essentially just allows you to paint out the thing you want to rotoscope and then the software would automatically track your subject it's been super handy but sometimes it doesn't work as well as you want it to but recently after effects has released the rotoscope brush 2 available in the beta software i have seen some pretty insane results with this tool it now uses ai to analyze your image and try and track your subject better previously it would just look at pixel movement but now it seems like they're introducing like an image recognization at least that's what it seems like anyways i want to give this thing a shot and see if it works as well as the internet tells me the only problem is i don't have any footage so i thought why don't we make a vfx video using this new tool now the hardest part with vfx is coming up with the idea this right here is one of my favorite vfx videos i've ever made i just think it turned out really well and looks so clean so i thought why don't we try and recreate this video i remember when i made this video there was so much tedious masking that happened and it took me hours to mask out my hand so i thought why don't we try and recreate this video with the updated rotobrush 2.0 it's my friend jesse hey he's the only guy i know with the soccer ball yep only person in canada too dude [Music] thanks man i appreciate your uh your soccer skills your favorite soccer team uh arsenal london's red all right what he said yeah one is red two one all right we are back you guys saw that footage um there are a couple things that i'm a little bit worried about i'm pretty sure we can find some workarounds though that's the vfx life you're not gonna shoot the perfect video every time by the way there is noise everywhere right now there's so much noise outside today because it's the saturday whatever fans blowing on the computer i got this mic out hoping i can keep it close to my mouth to prevent uh noise but anyways just ignore this i'm gonna screen record and do a little live edit you guys are always asking me to edit and do tutorials so here we go alright so let's take a look at our footage so our first layer here is the throw looks good next layer is the kick perfect no problems there third clip is my hand so let's go over some of the potential issues the biggest one here is the throw doesn't come out very far i think when i was shooting i should have been paying more attention to where everything was happening and needed to be like more out here not over here because everything else lines up on like this tree here so that's the first problem but i think that's an easy fix i'm just gonna mask out the ball and literally move it and then the next problem is shadows unfortunately we did not have overcast so we had some pretty harsh shadows and it was the evening so the shadows are long and dark i'm hoping that my hand will cover up a bit and then i might have to work some magic to put in some fake shadows all right and then number three this is our third layer here we got the hand this is where we're going to actually use the rotobrush 2 i'm hoping that it will track my hand pretty well i do expect it not to work perfectly considering it is a blurry hand moving across the screen um and i don't think that it was designed really for that i think it was more designed for like people recognition uh but that being said um it's a static background hopefully it'll understand that that is a hand moving and can rotoscope it out um so why don't we go ahead and start with the roto because that's what you're here for and by the way we are on the after effects beta so i'm just going to select the layer go to our rotobrush tool double click on my layer um go into the control panel here and it's going to click and undo to add the effect i noticed version we are on 2.0 that's good um and i've heard that you want to put it on best quality all right let's start painting so i'm just going to do good rough paint here good now i'm going to hold down alt and get in between my fingers here cut out the grass uh this hole between my hands i've heard that the first brush is the most important and or sorry the first frame that you brush out is the most important so i'm gonna keep that in mind right now i might have to mess with the settings but for now i think that kind of that should give the software a bit of an idea of what is the hand now i'm also going to just draw a red line around everything hoping that that'll do something i don't know why don't we go along here with the refine brush anyways let's just hit zero on the number pad and see what happens i'm waiting oh okay so immediately the mask picked up that my hand left frame and came back in so that's pretty good maybe i shouldn't have done that refine edge tool okay not bad yeah i expected that the blurry parts of my hand were going to get cut out luckily in this scenario um because we're going to put the hand exactly where the hand is anyways the roto doesn't need to be perfect here like this could have been done with a good mask but my thought was if i need to reposition the hand a good roto is going to be super helpful but in this case i don't think i'm going to so it's looking pretty good it's quicker than the old roto and seems to be a lot more reliable i think they've done a lot more than just this new uh image recognization ai thing i'm honestly probably not even using this tool correctly to its capacity but doing the job right now yeah i'm honestly more impressed at the smoothness because i found before that it's just so buggy now that being said i'm usually working on red footage which is a lot heavier in after effects it'll play back smooth but then once you start doing effects you can really chug like right here that's looking real clean up until there all right that's looking good it's not really liking these couple frames but uh i think that's understandable cool uh let's freeze that i think when you freeze your roto brush it uh it prevents any more analyzing of those frames so now i'm pretty sure we can still affect all the uh properties but it's not going to try and re-analyze your pixels okay like that's pretty sweet um yeah let's just mess around with some of these settings though i'm going to add a bit of a feather and edge shift it's going to blend with the background anyways i pull this up it's going to blend very well so i just want to get rid of any mistakes go through maybe i'm going to speed through the next portion of this because honestly i'm not really sure what i'm doing so i'm going to mess around with it and get it to a place where where i like and then we're going to together go through the rest of this [Music] edit okay that's looking a lot more clean i'm just going to freeze this again all right that's looking solid so it's just this balance of messing with your properties but then also readjusting your rotoscope and going back and forth between the two we're really putting this new rotor brush 2.0 through its paces right now whoa what is going on there again i think if we did this with um a person like a full body person it would make a big difference what just happened that just fell apart okay clearly i must have done something wrong it's like i tried to adjust like three or four frames and then the rest of the animation was just like yeah no i'm good well that's annoying what is going on like everything was fine and then it was it just fell apart i just have to start over this is rough it's weird it'll like process but then as soon as i freeze it all falls apart i think i'm gonna also mask out that one part that wasn't looking too hot i'm going to duplicate my hand and then delete the rota brush and then just on the tip of my finger here where it gets all blurry put a mask and then that'll clean that up because the background's good too so i'm just manually adjusting my roto here with a masked layer i think the hand turned out pretty good i'm pretty happy with that we can work with that so that's probably all the rotor brush i'll use in this edit um now i'm just gonna finish up the rest of this vfx video uh you can follow along or you can just jump to the conclusion at the end whatever up to you so now our next problem let me just hide the hand because that's going to be annoying our next problem is the ball i want it to be over here so i'm going to get a just a quick circle mask and do a mask there i'm going to put it on none because it's a lot easier to work with when you're not cutting stuff out i'm going to just do a general mask and then i'll probably use the uh extend mask setting i think it's called whatever i'm just going to do a quick position track here so i'm gonna go uh maybe like three or four frames i guess i forgot to put one on the first one that's okay just come back adjust the middle i always do the the peak of the the motion that's handy do the middle again come down to here and then there cool that's probably looking pretty good now i just want that ball to be as center as possible so that when i use my subtract extend mask should be pretty close pull up our mask settings uh mask expansion that's what it's called now i'm going to also probably mess around with this a bit if i mess around i mean i'm going to keyframe it it's not going to be the exact same extension every time just because the ball gets a little tiny bit smaller as you can see here so i want that extension to be a little bit less we do a bit less feather like 15 okay let's see how that looks over top of some footage actually i'm just going to rename these layers before i get mixed up this will actually be called ball sorry my camera stopped recording at 30 minutes um i'm not sure where i left off but i've masked the ball and now i'm just going to try and change the position of the ball and see if i can get it more over here let's see if this looks natural if it doesn't i'm gonna have to mess around a bit more yeah that looks fine boom perfect we can tweak that a little bit after okay um now we've got to get rid of the other ball so this should be pretty easy actually this is the same method i used in the tennis ball video what i'm gonna do is use the clone stamp tool double click on my footage i'm gonna get a real big brush for this one i'm gonna change my frame i'm gonna go alt click come back click oh okay i gotta change some other settings now i want full hardness a couple more frames let's alt click here come back the reason why we can get away with all hardness is because there's practically no motion in any of this footage or at least in the camera shot i should say if you don't know what i'm doing here you should check out my tools for after effects magic where i talked about these tools so now we got ball disappearing um so i'm still sampling from that one frame and it's a one-to-one sample like right right where my cursor is it's just taking the information from that frame and i'm able to get away with quite a bit here now we're gonna run into issues as soon as this ball touches the shadow see if i can get away shadow manipulation here okay so it worked fine until his shadow left so now for the kick i'm literally gonna do the same thing i did with the throw i'm just gonna mask around the ball i'm just gonna probably track it backwards here uh so i'm gonna keyframe the mask path and mask expansion because the ball changes size first i'm just going to focus on the path now the reason why i'm just isolating the ball is because uh the clouds and trees are moving so if i were to do a big mask i might run into some issues and it honestly it's not very hard to mask a object that's moving in a constant direction or motion right because i can predict exactly where it's going to go so i can very easily manually track this but if it was like moving all over the place then it can be a pain it's always good to make your keyframes on the peak of the motion so every time it pretty much comes to a stop it's a good rough mask uh so let's see those together so we got the throw the flick and yep let's get the timing out okay so i think the throw flick yeah that's all good so there the ball can disappear and then we transition to the kick which will be that worked really well i like that now i just gotta get rid of that bolt that's awesome i really like this i'm so happy how that worked out uh now i just gotta deal with this ball situation and shadow gonna deal with the shadow too now she's gonna give her that ball and fix that shadow should i probably do this no no my thought was maybe i could get away with like a little zoom that looks so bad yeah no that's awful i would never do that it's not really to the standard i would like all right forget that so i was just thinking if i'm going to make a vfx video i should probably put it on like tiktok or something hope it's still around by the time i'm done so i threw it into a 9x16 composition and it kind of hides the soccer ball thing so that's not bad at all now it would be nice to pan back to the soccer ball that would be cool it might be able to hide the ball at least for the vertical video yeah that cleans that up but the 16 by nine is still messy here and i want this to change sooner so this is i'm just smoothing out my camera movements here that looks good i like the 16x9 better but i mean just that ball but i could probably paint in a few of those frames so it looks like i was only really able to create a 9x16 video out of this which i'm not too upset about that um that's going to be the most useful for social media right now anyways okay quick update i put a little bit more time into painting in the shadows and i think i got a result that i'm pretty happy with okay i think we could call that a success uh the video turned out pretty good i'm pretty happy with how it turned out unfortunately i didn't have a ton of success with the rotobrush tool i think it just wasn't the best scenario for it i'm sure it is really good if i was rotoscoping out a person but a moving hand in the foreground didn't seem to work too well um i wish we shot this on an overcast day so we didn't have to deal with the shadows but that's the reality of vfx you sometimes you can't shoot stuff on perfect days you have to just get it done and i couldn't shoot a different direction i had to shoot that direction for my hand otherwise my hand would have been shadowed and it wouldn't have looked good in conclusion i would say that the rotobrush 2 is significantly better and for the most part it was very smooth i just had a couple glitches on the way but that being said it is the beta version i'm curious if anything will change in the the actual release but regardless i am excited about new tools that are going to help me make vfx videos i think i'm going to wrap it up here thank you guys so much for watching if you enjoyed the after effects content uh please let me know in the comments down below and don't forget to subscribe for the next video claire wants you to hit the bell [Music] you

Channel: Matthew Paquette

Views: 33,855

Keywords: Matthew Paquette, Viner, Funny, Vlogs, Shot on RED, R3d, Cinematic, tutorial, B Roll, Broll, B- Roll, Premiere Pro, Premiere Pro Tutorial, Cinematography, Videography, Photography, Adobe, Adobe Premiere, Adobe tutorials, How to Get Cinematic Shots, Matt Paquette, Editor Matt, vfx, visual effects, zach king, tik tok, viral, magic, tools, after Effects, vine

Id: xz5d0jE_AEY

Length: 16min 55sec (1015 seconds)

Published: Mon Aug 10 2020