Rotoscoping 101 in DaVinci Resolve

hey guys CB super but I'm gonna go over basic rotoscoping we are going to rotoscope this building front here so that we can put maybe some text behind it so it appears that the text is actually behind the building this is of course just a regular drone shot it's a fairly easy problem footage itself actually tracks from left to right but it does change in perspective we can see that this portion over here elongates quite a bit as it moves around to the side here photos to rate this and difficulty from 1 to 10 I'd probably say this is a 2 or maybe a 3 in difficulty it's actually not gonna be too bad let's go ahead and jump over to fusion alright here we are inside a fusion I'm just going to load this media into the left viewer and the media out will be in the right viewer so the very first thing that we always want to do when rotoscoping we want to review the footage and analyze our problems so I don't see any motion blur we can probably use a little bit of tracking in order to track the front of this building to make our masks stick and the only real problem that we have is there's a little bit of perspective shifts that we know that this portion over here will probably need to be scaled in some shape or fashion so let's really quickly talk about a couple of different ways that we can actually use masks to rotoscope something when we're rotoscoping what we're actually doing is we're separating foreground images or footage from their background sometimes we may want to cut the image out completely and put it into a new background but in this instance what I'm gonna do is I'm going to select a foreground object I'm going to remove it and then place it back on top of itself so that we can play something behind it so if you haven't already watched my basic masking video you're probably gonna want to go watch that video first because I'm not going to be going over in the detail that I went over in that last video so 90% of the time when I'm going to roll out some kind of custom shape I'm gonna be using the polygon mask tool so I'm gonna go ahead and bring out a polygon mask and show you a couple different ways to actually mess things out real quickly with the polygon node selected I'm gonna go ahead and just make a quick selection here to demonstrate the different ways that you can actually mask things out so if we look at the polygon mask we noticed that everything in black is transparent everything white is opaque that's how da Vinci recognizes the Alpha channels so let's go ahead and plug this directly into the median and we know that the media endnote can accept an effect mass because it has a little blue triangle so if i drop this polygon directly onto the median node we'll see that we have cut out our foreground object but we've lost everything in the background now if this is what you're going for well then that is how you can do it this isn't generally how I'll work because it's a little bit more destructive than I like to use but the nice thing about fusion is that nothing is really destructive you can always go back and you could fix it so let's go ahead and remove that and I'm just gonna move it over there's a couple other ways that we can actually mask this out we know that we're gonna be wanting to use this media node later we're gonna want to actually use the same footage as the background and as the foreground images we're gonna need to maintain this media in node in its normal format so originally what we would do is we would actually add a matte control after the media in node so now when I plug in this polygon node into the matte control you'll see that it actually plugged it in as an effect mask but that's actually not where we want to plug it in so I'm gonna go ahead and remove that instead I want to plug it into the garbage matte so if you grab the output from the polygon you can drop it directly on the garbage matte which is the lower right matte that will work that'll cut it out it's a little small and it's probably kind of difficult to do so what you can do is you can actually hold down the option or Alt key on your keyboard when you grab your output for the polygon mask and you drop it on the matte control and then select garbage matte from the drop down now it'll do the exact same thing conversely you can also just grab the output with your right mouse button hold it and then just drop it on the matte control and then select garbage matte so that works and the nice thing is now we still have this media in node that we can use to superimpose this later what we're gonna do is we're gonna use a polygon node to make a selection or cut out part of the building then I need to take that part of the building so I'm gonna go ahead and invert this for right now let's go ahead and bring in a merge node really quickly and I'll show you how this is gonna work so I'm gonna want this media in to be in the background and I'm gonna want that cut out portion to be in the foreground so if I do that I go ahead and load this up now we can see that it looks the exact same like nothing's been changed but if I go ahead and bring in a text now and I place this text in the background so let's go and bring another merge note and place it directly into the pipeline that is not connecting to the Mass node and now the text appears to be behind the building obviously we haven't done the entire mask yet so the effect is kind of ruined but now you understand the premise behind rotoscoping something out so that you can use it as a selection either to cut it out completely and put it on a new background or to put something behind it so that's the basics of rotoscoping let's go ahead and delete all that and let's go ahead and show another way to connect this mask I'm gonna go and delete the Matt control so the way that I actually prefer to do it is to actually bring in a merge node and bring in a new black background so in this black background what I'm actually going to do is I'm going to come over to the alpha where it says one and I'm going to slide it all the way to the left so it says zero what we've done is we've taken that background and we've turned it into a completely blank background of the same size as the comp so a merge node does one thing it merges a foreground footage imager object on top of a background image footage or object so I'm going to take the background and I'm going to put it in as the background into the merge node I'm gonna take that media in and I'm gonna plug that into the foreground so my media in is foreground my background is background and now when I load this in it looks the exact same but the only difference is now I can take this polygon and I can drop it in as an effect mask and now it cuts it out and the nice thing about merge nodes is that they will preserve the transparency or the alpha channel information you can also use the matte control like this but I think that the merge node is a little bit easier all right so that's the third way to do it there's actually yet another way and to be honest I'm a little bit biased in this next method let me go ahead and delete this so I wasn't really happy with any of the methods so of course I created my own tool that would help me with rotoscoping it's called the CB roto node so with the media selected I'm going to shift space type in Rotem and let's load this up so by default it's set to red and the red lets you know that there is no mask connected with the router selected you can go ahead and click on the polygon tool and start putting down points in order to make your roto and here's the nice thing about this is that now we can actually see where we're putting our masks let's say we want to make several masks here we can see exactly where each one of these masks is we can also get really close here and we can make these changes this is somewhat similar to how Photoshop does its masks and I really was surprised that there wasn't a function that was already built in fusion to do this so here we have the roto node and the great thing about this is when you're all done making your masks in order to activate it so that you actually have an alpha Channel all you have to do is take the roto sis slider on the right and just move it all the way to the right and now it works just as if you were using one of those other methods and the nice thing is you can always switch back and forth and you can change the color if you want to to maybe something that is a little bit easier to see against whatever colored background you're using you can change the opacity to drop it down a lot or you can make it completely opaque if you want and it's really easy to use so once we connect this to the media out we can actually jump back over to the Edit tab and we can see how well our tracks are holding onto the actual building of course we haven't actually animated it so it's not gonna hold right now so now we can see that as we move it the track obviously moves off of it but we're gonna fix that here in just a minute so that's the CB roto node you don't have to use it I do find that it makes doing rotoscoping a little bit easier at least for me so I'm gonna go ahead and delete all of this and let's actually get into rotoscoping alright so now that we understand how to wrote a scope let's go ahead and tackle how we're gonna rotoscope this building because this building doesn't move but the camera moves we know that we're gonna have to break this up into pieces because the front of the building is not going to change very much but the side of the building is and that's because the perspective changes on the side of the building so let's go ahead and write this up into two or three masks we also want to include these antennas those antennas will probably need their own masks I think one way that might be a little bit easier is to actually track the front of the building using one of the tracker nodes like many of you I'm on the free version so when I bring in a tracker I have three options but this first option is actually hidden behind the paywall so unless I want to purchase the studio version which is actually a really good deal for what you get but because most of you are on the free version I will continue to use the free version so let's go ahead and find a way around using the camera tracker so shift space type in tracker for the first step I'm actually going to use the planar tracker so here is the planar tracker we're not going to go to in depth in the planar tracker but what I need to do is I need to connect the media in node into the planar tracker and then I'm going to load the planar tracker into the viewer I want to make sure that I'm starting off at frame 0 but if you're starting off at frame 10 what you'll need to do is you will need to set your reference time by hitting set I'm going to be using frame 0 so I gonna set my frame reference time to zero and by default it's set to zero so if you just start from zero you won't really have to worry about it so by default it's set to luma Channel luma channel is obviously the bright and dark areas we're gonna want a bit of contrast so let's go ahead and zoom into the portion that I want to track let's just say I want to track this front of the building I'm just going to make a selection on the front of this building and I'm gonna leave it on perspective even though the perspective doesn't change too much it does change a little bit so I'm gonna go ahead and leave it on perspective but if yours doesn't change at all you can always use one of these other options that will be a little bit easier on your computer I'm gonna go ahead and click track to end to go ahead and start the track alright that only took a few seconds to track let's go ahead and take a look at the track points it looks like it's holding pretty well one thing you can do is you can actually look at the little splines and as long as you don't see any crazy jumps or anything it's probably a pretty good track once I have a track that I like I'm gonna go ahead and click on the planar tracker and I'm gonna create a planar transform there that drops down a planar transform I can go ahead and disconnect this planar tracker and move it out of the way you can also delete it if you don't want it and reload this media in node so now that I have this planar transform what this planar transform is going to do is this is going to be the transform information that I will use to make a roto stick to the front of that building so after the meeting in node I'm going to hit shift space and I'm gonna type in roto because I want to bring in my CB roto tool you can also use one of the other methods that we described earlier in this video if you don't want to download the roto tool I'm gonna take the output of the planar transform I'm gonna plug it directly into the roto node and now I'm gonna go ahead and load the roto node into the actual viewer here I'm gonna click off because I don't want the polygon to connect to anything just yet because I actually have to plug it into this planer transform but not as a mask I want to plug it in as an input so let me show you what I mean if I go ahead and I click a polygon node with nothing selected it just drops it off into the node panel which is exactly what I want just like we did earlier if I take this output and I drop it directly into the planer transform it's gonna drop it in as a mask which is not what I want I don't want to mask the effect of the planar transform I want to use the actual effect of the planar transform so what I need to do is either hold down the alter option or use my right mouse button to grab the output of the polygon and drop it directly under the planar transform then select input you notice that it all turns back to the normal color and that's letting me know that is now ready for me to again building my mask so I can come over here and go ahead and start making a nice selection on the actual portion that I want to mask out I'm gonna just use the front face of this building and once I connect it and it's gonna turn red letting me know that I now have a mask selection me I can get a little bit closer here and I can move these around if I need to make sure that it's right on the edge where I want alright that looks pretty good this portion over here isn't really as important because another mask will overlap with it now let's go ahead and hit the preview button or the spacebar and see how well it sticks so as it's running through we can see that it sticks really well in fact we probably won't need to do anything because the front of the building does not change too much in perspective okay that holds really well and if we come into the Seabee roto and we turn the roto assist off now we can see that we've cut out the front of the building so step one of this process is now complete I'm gonna go ahead and turn the roto Syst back on we can use this planar transform information the track data to also do anything that's on the front of the building this problem with this antenna up here though is that it's not really on the front of the building it looks like it's on the front of the building but it's actually further back on the building so there is going to be some perspective shift but let's go ahead and try it anyways we can go ahead and rename this polygon hit f2 front building and we're gonna want to rename these masks case we have to move them later with this mask selected I'm gonna go ahead and drop another polygon tool but I'll notice that I'm actually not on the very zero frame so let me go back to the next frame and I'm gonna come over here and right-click and I'm gonna remove the polygon what would you do when you remove that polygon is you actually remove any animation that's already taking place you'll notice that I drop down a keyframe because I wasn't quite on the very first frame so you do have to be careful when you're using the polygon tool because a lot of times it will be set up to start animating immediately so let's go ahead and zoom in here and I'm just gonna drop two points on here that's probably all I'm gonna need I want to drop it right in the center of that item and then I want to come over to the border with I'm actually going to use the border width to control the mask so if I increase the border width without holding the command you'll notice that it's way too big that would be great if we wanted to include some of the sky but I don't want to clued any of the sky because maybe I want to do a sky replacement later so I'm gonna hold down the command or the control button if you're on a PC and I'm just gonna slowly decrease the border width until I get the exact size that I'm looking for and let's say that that's pretty good maybe just a little bit skinnier and right about there looks pretty good alright so now we've included that antenna but the only problem is if we come to the very last frame we'll notice now we can see how much the perspective has changed so let's come back to the zero frame again let's come to that very first polygon and let's go ahead and right click and hit animate because we know we're gonna have to animate this mask now let's come all the way to the very end here's one of the issues with the polygon node so you would probably think that you can go ahead and make a selection and move this but unfortunately we're still on the click of pen so if I click anywhere even if I'm trying to click and make a box what its gonna do is it's gonna start dropping down more points so I'm gonna go ahead and command Z to undo that and I'm actually going to come over here to modify only you can also use the hotkey of shift M so I'm gonna head and click that select the polygon and I want to move this over so if I move it over to the right I can now move it directly where it should be so what we've done is we've gone from the first frame all the way to the last frame and we've moved it over so as long as everything is moving completely the exact same throughout the movement ideally it would be completely lined up on all the in-between frames of course we know that's not gonna work that way so let's go ahead and half it to maybe about frame 90 and we'll see how far off it is so our goal is to use as few movements and create as few keyframes as possible so we can see that we're gonna need to move it so I'm gonna go ahead and move it back over a little bit here and then I want to continue to have it so if I went to 90 let's go somewhere in the center here and then check it again I think that actually works pretty well so let's go to the first quarter and that looks pretty good as well so now if we are in a preview it we can see that it appears that that mask is holding quite well ok so now we have the first part of the building let's go ahead and take care of the rest of the building so this portion right here we actually don't need to roto it out by itself because it never touches the sky and everything that touches the sky is what needs to actually be routed out so we can just do a garbage mask to actually mask part out and we can track that mask really easily but what we do need is we will need to mask this portion out here on the top these two antennas and then of course this side which we know that side is going to change in perspective so therefore we're probably going to have to scale that so in order to handle this side over here we don't necessarily want to use the track data from the front it's going to be off because these are at different planes so they're gonna move at different speeds and that's how parallax works things that are further away from the camera will move slower than things that are closer to the camera so let's go ahead and find a point on this that we can actually track so I'm probably going to use this antenna because this antenna looks like it's gonna be really easy to track because there's quite a bit of contrast I want to go all the way back to the zero frame because this is where I want to start and instead of using the planar tracker this time I'm gonna use a point tracker so with nothing selected shift space to bring up my quick tool select type in the word tracker this time I want to use the actual point tracker so go ahead and hit add plug the media in into the tracker and then load the tracker into your viewer now to move this tracker around I'm actually going to use this little green or red square that's in the upper left hand corner and go ahead and move that around and let's go ahead and move it to something that has a lot of contrast I could use this building portion right here right where that gets a little bit darker I think that might work well go ahead and try it tracking is definitely one of those things that you have to just try and don't be afraid to abandon a tracker if it's not working sometimes it's easier just to track a new point that works out better than it is to actually manually fix the track itself so we'll see how this one works out with the tracker selected if we come over here to the right really we don't need to worry about any of this stuff right now we're just going to track forward let's go ahead and track it forward all to the end to keep an eye on it you see that there's a couple jumps in there we may have to fix those we can tell that kind of looks like an EKG reading which is not ideal let's go ahead and go to the beginning and let's see what we need to fix all right we see one coming up let's see so in order to fix it simply just grab that track and bring it down so it's nice and smooth and you can either go frame at a time or you can go to wherever your problem areas are here's another problem area let's go ahead and drag it drag it back down you can also just simply scroll on your timeline to go to where the problem areas are and you could just fix these one by one this is a relatively easy fix there's a lot of times will you'll track it and it will not be this easy sometimes you will need to actually just find a new track point so we can see that the track is definitely messed up here at the end for whatever reason maybe it's too blurry in that one photo so let's go ahead and just bring it back down you can also delete these track points and you can try and retrack it from your problem point but sometimes this is a little bit easier just to go ahead and fix it manually all right and that's the last frame all right so now that our track data is fixed let's go ahead and zoom out a little bit and let's take a look at it now it's it might not be absolutely perfect because you're gonna have the camera may be hitting some bumps and some wind so it's gonna move around a little bit but that looks like it's gonna be okay for what we're gonna be doing if for whatever reason you need an even smoother tracker then just keep finding things that you can track and then of course if the tracker isn't working then just ditch the tracker altogether just hand animate the road oh and you may have a better result and there are several times where that is going to be necessary all right I'm just going to remove this I don't necessarily need it for anything I've already completed the tracker information now I'm gonna go and load the viewer back into it I'm gonna bring in a new CB roto node because I want to show you how to merge CB roto nodes in the future going shift space type in the word roto bring in another CB roto and I'm going to plug the media into that tool and I'm gonna load that one up you see it's red this time I don't want it to be red maybe I want it to be blue and I'm gonna turn the opacity down just a little bit so in order to use point tracker data the easiest way is to just bring in the polygon node and before I actually build my polygon mask I'm going to connect the center of that polygon node to the tracker data so let's go to the center of the polygon node and I'm going to right click come down to connect to tracker one tracker one path and position that now move the center of this polygon node to the actual point that we tracked now you might need to click off and click back onto the polygon and a couple times until you actually get your crosshairs and now you can go ahead and build your mask I'm gonna mask out this front portion by itself so I'm gonna go ahead and come down here and I'm actually going to drag this all the way down because I going to make my text a little bit big and I'm gonna come over here to the right because I want to overlap a little bit and create this mask like so so let's go ahead get a little bit closer maybe jump on the polygon if I need to move these I can alright and that looks pretty good so now let's go ahead and play and see how well it tracks so the part that we really want to pay attention to is actually up here we can see that it's extending past a little bit so it is changing in perspective let me go ahead and stop that come to the very last frame and one thing we will need to do is we will need to scale it down in the X so this is X and up-and-down is y so we know we're going to need to scale this poly a little bit what we're gonna want to do is we're gonna select all the points and because I need to scale it in the X I'm gonna start over here on the left hand side this is the side that I want to scale it towards so I'm gonna hold down the X button on my keyboard and then I'm going to use my left mouse button to click and drag and I'm gonna drag to the direction that I want to scale it so there you see that I've scaled it back inward and now it all lines up pretty good and so again we want to check the center let's just go ahead and check the center see that it's lined up we could probably scale it in a little bit more so X is going to constrain the scale to the X just a little bit that'll work now let me go ahead and check the front quarter quarter looks good and the back quarter looks good enough okay so now I want to view both of those masks together let me go ahead and unplug the original CB roto tool from the media out and I'm just going to merge the output of the CB roto onto the other output of the CD roto now let's going to take a look at what we see we don't actually see anything and that is because only one of them is showing so if we go into the merge node and we changed the apply mode from normal to either darken or lighten we should be able to see both colors together now we'll notice that they are a little bit darker than they normally would be and that is because in order to see both colors superimposed we're gonna have to choose either darken or lighten so if we we could also do screen but then that's going to brighten up the entire image which looks kind of weird so I found that the or the dark and work the best where they only lighten or darken the actual colors and not the actual footage behind it so now we can go ahead and connect the merge to the media out jump over the Edit tab we can see exactly how well our masks are holding to the track okay that only took a few seconds because again all it's doing is its compositing those colors on top of your footage so let's go ahead and hit P and we'll take a look at the masks so the masks seem to be holding onto the track really well so that's good let's go ahead and jump back into the fusion and we'll go ahead and finish it up so I need to do these antennas we would do the antennas the exact same way that we did the antennas over there I'm gonna go ahead and do that really quickly and then we'll go ahead and pick up after I'm done with those antennas we can see that it looks like it matches up really well so now we just have these last two bits we have the side here we have this last antenna let's go ahead and create a brand new Road anode and this time we're actually not going to use any of the positional data I'm gonna show you how to do this completely hand tracking with no track whatsoever so shift space type in Road o bring in another CB roto tool I'm just going to use my alt or option key and I'm going to create a pipe router here just so I don't have to go all the way back up and I'm just gonna pipe this directly in again it's red let's go ahead and click on this roto and let's change this to maybe a green and I'm going to turn the opacity down just a little bit okay we want to make sure that we are on the zero frame because I'm going to animate it from zero going to zoom in here and let's go ahead and just start making a mask and I'm actually gonna start this mask right here on the corner where the other one finishes I'm just going to come down to the end here come down a bit and this can overlap that's fine because again this mask it'd be a little bit nicer if it overlaps with the other mask next to it and we can even create another point here just to make a little bit more overlap this will be a little bit weird we will have to change the scale just a little bit but it'll be fine okay so that works out pretty well let's go ahead and go to the very end frame here obviously it's really far off and the reason is so far off is because there was no track data we didn't use the track data that we've been you so now we actually have to animate it right click over here make sure that the animation is already set if you see the word animate it was not animated to begin with as long as it doesn't say animate then that's good it will automatically set a key when you move this so the way that we're gonna move this is I'm going to select all of the points and I'm gonna drag all of the points over well notice that it's off a little bit in the in a rotation so let's go ahead and just line it up as best we can with one side so we can actually twist this so if you hold down the T button it will twist or rotate it so if you hold down T you can actually rotate it until it matches horizontally with the side of the building so let's go ahead and get close and see exactly where our points should be this our point should be up a little bit so let's go ahead and scale it until it matches up to right around here so in order to scale it we want to scale it in the X I'm going to go to a hold down X I'm gonna grab this corner over here and I'm going to scale it outward to right about there maybe and we can see that there is definitely some overlap and that is because we rotated it at this point grab this corner and I'm just gonna drop it directly on to there and I'm gonna match this one up a little bit here and let's see how well that holds when we go ahead and play it somewhere in the center so if I jump into the center area we'll see that it is not holding it all and so this is where you can see the power of using the actual track data this would have been a lot easier if we would have used the track data because apparently the speed actually changes somewhat in the drone shot it's not a consistent speed so let's go ahead and go down to the center and we'll go ahead and move this again you can see we're we're doing pretty good for scale it's not perfect but it's pretty good you want to stay away from having to move these points as much as possible but I think we can get away with it here let's go ahead and check the back quarter back quarters off again but the scale looks pretty good let's go to the front quarter we know the front quarters gonna be off because for some reason it actually really speeds up in the front half so let's go ahead and move the corner so this scale changes a bit so but instead of scaling it I'm just going to bring the points down so let's check the front half that looks pretty good let's go ahead and merge this in again and again let's go ahead and change this to maybe a darken and you can always make these completely opaque if you want that will help preserve the color for when you're viewing it so something like this and the nice thing is you can see it darkens where you have overlap which is good because you want to make sure that you are encompassing the entire building all right so now we have everything all tracked we've got all of the colors but we're not done there obviously we need to convert this back into a roto so let's go into each one of these roto cysts and we'll go ahead and turn them off so we're just turning all of the roto tool that I built we're just turning them so that they will convert everything into alphas now we need to go into these merge nodes and these need to get turned back to normal and that's so that it will correctly apply the alpha channels and not try to just cut out in some kind of weird fashion all right so now we can see that we have our building front side we have the antennas we can go ahead and scroll through here we see that the side of the building actually changes in perspective that's good that our masks seem to conform to it pretty well we've already checked all of the masks for accuracy it's pretty good but now we have to take this cutout and superimpose it on top of our actual media footage so we already showed how we can do that I'm gonna hold down the option or Alt key I'm gonna create a new pipe router and I'm just going to get rid of this and I'm going to plug this pipe router into this other pipe router and that's just so I can free up that media node I'm gonna delete that tracker we don't need trackers once we've already used them for what they were worth these merges are just combining in order to make this one combined mask and that's fine but so after that I need to superimpose this as the foreground on to my media which will to be the background so after this merge knows let's go ahead and create another merge node by bringing in a merge node now you'll notice that right now it's said that this merge node which is the combination of these masks is set to the background I don't want that I can either unplug this and put it in directly into that green output or in this masked node I can simply hit command or control T which will swap it to the foreground so now I need to take this node and I want to plug this Mass node into the merge now this is gonna look pretty ugly so I'm just going to move this up a little bit create a new pipe router by holding option or alt so just so it looks a little bit more organized maybe bring another one in here so what we're doing is we're taking this media in now it's in the background so for you sue / impose these two it doesn't look like anything has changed but in reality obviously all of our cutouts are on top of this so since this is our background let's go ahead and bring in a text node if I bring in a text node and I want to plug this text node into the background and have the foreground on top so I'm going to take this text node and I'm gonna drop it into the pipe router which is a really handy way to actually use a pipe router so that way I don't need to drag it all the way over here and drop it into this merge node which would merge it into these rhodos which we definitely don't want so let's come into this text and we'll go ahead and move it up a little bit it'll go ahead and size it up just a little bit and we'll just type Road oh all right that's pretty much it for roto 101 I hope you guys got something out of this I hope you guys learned something new perhaps if you guys are interested in the Seabee roto tool it's absolutely free head on over to cv super calm download the Seabee roto tool upload that into your macros folder and you guys can start using it if you like if you guys like this video make sure to LIKE subscribe leave any comments down below and I'll see you guys in the next one thanks [Music]

Channel: CB Super

Views: 45,862

Keywords: DaVinci Resolve 16, Davinci Resolve 15, Davinci Resolve tutorial, video editing, Tutorial, free video editor, cb super, free video software, bmpcc6k, bmpcc4k, edit video, davinci resolve, davinci resolve 16.1, vfx, visual effects, fusion tab, fusion tutorials, text animation, green screen, fusion effects, davinci resolve 16.2, masks, masking, masking in davinci, masking in resolve, rotoscope, tips, tricks, rotoscoping, roto, roto tool

Id: eyYUsD2Yk7o

Length: 30min 35sec (1835 seconds)

Published: Mon Jun 15 2020