Secrets to Stunning Flower Growth VFX in Blender & After Effects

in this video we're going to go over how I made this shot inside blender and after effects let's go so the first thing I want to do is import our footage so I'll press zero on the number pad to jump into the camera view we'll go here into the camera Tab and we'll select our background image so just enable it add image movie clip open so I transcoded my footage I have the 4K version here and the 1080p version here one thing I noticed is that when you add anything above 1080p to blender it really slows down the interface so what I normally do is I just render all footage to 1080P and then I work off of that so so I'll just import that we can line this up manually if we need to so let's say so for right now if I go into my camera view I have this lock camera to view in my quick favorites but you can find that here just go to view select that and lock camera to view and basically what that does is allow you to move this around and it's actually moving your camera rather than jumping outside and just moving the viewport so let's enable that and you can line this up manually it's pretty simple to do I want to be a little bit more exact so I want to rely on perspective plotter so let's just click on perspective plotter and we'll hit plot perspective I'm just going to uncheck lock camera to view because we don't want to be moving the camera so if I zoom in I don't want to be moving the camera I just want to move the view so I can see where I'm placing these points so we want to use the x axis as the left and right so I'm actually going to fix that by doing this so we're not going to use the y axis for left and right we're going to use the x axis and that's a little bit more accurate so we'll just come in and do that okay I just realized we were using the Y AIS instead of the z-axis so let's switch that to Z and because we are upside down we're going to have to fix that but that's a simple fix so we'll just do that and that um yeah you'll have to excuse that y AIS thing that's a 3D Mac 3ds Max thing it has an inverted coordinate system that way so um instead of using positive Z we'll use negative Z and that'll flip the scene now one thing that we want to do is just go in here and fix this so this is our camera distance this guy is actually 6 feet tall so if I go into the view or sorry the item you can see that he's 6 ft tall so this is going to be a reference for the scale size so let's say around there is roughly what we want and I'm just noticing that this is a bit off so there we go and that's looking pretty good now I can take this and just kind of slide it over here cuz we want that to be the center of the scene and now that we have that lined up I'm just going to take our mail here and just delad him cuz we don't need him anymore and we'll go back to perspective plotter and we'll stop plotting we'll select our c camera go into item and then lock the rotation and the location and also the scale so that if we try to move the camera so right now if I hit G and I try to move the camera nothing happens I can't move this camera out of out of position so we want to keep it locked there cuz it's aligned with the scene and this is only a this is a locked off shot so the next thing I want to do is add geometry for the rail so what we'll do is add a cube and we'll scale it down and we're going to scale it along the x axis so SX and let's see here so something is a little bit off so I'm just going to scale this back down and just make sure let's see let's move this and then SX okay it looked like it was off but it it really isn't because if you notice you can see that the edge here is aligned with the back Edge and if I scale this on the x-axis it lines up pretty well what I'm going to do here is I'm just going to scale this along the X and let just keep going till we have full coverage and then we'll do GX to move this that way and then SX and scale it back up and then GX move it back that way and okay so that's looking good now we want to make sure that this corner here it's kind of hard to see uh but this corner here so this one is lined up with with that right there so if I just hide this we want to make sure that it's lined up with this Edge what we can do is scale it along the Y AIS so s y and we'll just make this bigger and of course this Edge is now falling off so we want to hit gy and realign that and we're almost there so s y we'll do this slightly and then we'll have to move it gy and move it back that way toward support us we're still getting a little bit of misalignment so s y if I hold shift while moving it's more of a fine tune adjustment so that definitely helps and I think we're pretty good there alt Z enables x-ray view so you can see through it so just a quick tip there one of the other things I want to do here is actually take this and just bevel it because not everything is like super sharp at all so what I want to do is just bevel this so contrl B and we'll just kind of bevel this out and we'll add some subdivisions there okay close enough so the next thing we want to do is actually subdivide this a little bit give it some more geometry so just hit R uh controlr and just scroll my mouse wheel up a little bit and just give it some geometry and then right click to space those evenly and we'll get out of that mode and next thing we're going to do is is ADD our particle system so we'll go here and then create a new particle system and we'll make it a hair system and click on advance so we have access to the rotation and some other options just going to turn off the particle system for now and we want to import some plants so we'll just go over to our acid browser and go into our bapy uh collection here and we'll do flowers so we want to pick flowers that don't have a lot going on at the bottom at the base because like like this one especially um because when this scales up it's going to make it really obvious that it's just scaling when you have a very dense base so we want to hide that fact by picking the correct assets so let's say we pick something like this so that's a good one like some of these are pretty good this is a good one this is a good one oh this would be a good one this let's say this would be a pretty decent one so I want I want to take these and move them away from the scene so I'm going to scale this one up so it's a little bit bigger you know about the same size of the other ones and same thing with this one because we're playing with scale one of the things I need to do is apply the scale so we'll select each one and hit contr a and apply the scale and then also we should be good here but I'm just going to do the rotation to just in case now what we want to do is select all these plants and add them to a collection so in the upper right these are all selected so hit M and then click on new collection and we'll name this plants and then now what we can do is go back into our camera enable our particle system and instead of hairs if we go down to render we can instead of path we can go to collection and then instance collection plants so now we have plants on our base here the orientation is a little messed up so what I like to do is go into rotation enable that and instead of velocity hair we'll go to normal now let me turn off the particle system and explain this for a second if you go here and click on face orientation you can see that this is all blue and that's good that's what we want because that means the faces are pointing outward if there are any red faces that means they're pointing inward so we need to fix that so if you come across that we don't have any here but if you come across that just hit uh select your mesh and hit shift n and that'll recalculate the normals so let's save our project so let's shut this off and jump back into our camera now if we turn the particle system back on there's a couple things that are wrong here we can see here that there are a bunch of plants and some of them are laying flat and they all look the same pretty much so what we want to do is actually vary this up so let's just fix a couple things first this is probably too big these plants um so we're going to go into our rendered View and we're actually going going to go to transparent so if you don't have that in your quick favorites you could just find that here and then go down to film and click on transparent that's actually not that bad but I think they're a little bit bigger than what we want so let's go back to our particle system and we can go to scale and we can bring them down here so 0.04 I think that's pretty cool may do 0.042 now we want to uncheck show emitter because if we render this you can see that we see that base there and that's not what we want so we will shut that off by unchecking show emitter and now if we render it we don't see that geometry there what we'll do is stop this render and just keep in mind that in the viewport you're still going to see it but in the render you will not the next step here is to fix some of these plants they're rotated in a weird way so let's find which plants those are so sometimes you might also want to try like Global y uh that'll give you a different result so you want to kind of just pick whatever is giving you a good result here I usually use the normal because I want it to come out in the direction of the the face normals but sometimes that causes problems like here you can see that you know some of these plants are like rotated in a weird way one thing I forgot to do is apply the scale to our geometry underneath so that helps a little bit but you can see that again it's doing some weird stuff the yellow ones are causing the problem so let's go find the yellow ones here all right so it would be these so some of these are causing problems and I can see here that the Anchor Point is actually not at the bottom here so let's see if we could fix that hold shift and right click and you can see that that yeah that place it in a good spot so let's um set origin to 3D cursor and then we'll just apply the rotation and scale fix some things here so let's let's see okay so that fixed a little bit so let's try to add a cut right down the middle see how that works okay let's play with the seed a little bit too okay so we want to vary this up a little bit so what we're going to do is we're actually going to you could do things like increase the particles per face but um let's not do that let's um let's come in here and first of all we'll play with the seed so you can get like a random you know random showing of particles here what we're noticing is that a lot of them look the same so what we want to do is rotate them so let's say uh since we're using along the normal we can randomize it so we can just kind of do that and then also the phase so maybe something like that and then we can increase the particle count too so let's say 1,500 and that's like pretty cool we can also play with the scale Randomness so um let's just increase the scale Randomness so maybe something like that and then increase the scale here so we'll do 0.05 we might actually want to go a little bit bigger than that so 006 from here what we can do is make sure you have pick random selected and then also object rotation so that'll use like you know some of the that'll use the object's actual you know rotation in when it renders it out but we can also uncheck that and then just go to randomize here to kind of give it a little bit more Randomness if you want so you know it's all up to you whatever you think looks good but I think when I check pick random I like the way that looks so that's um that's working for me what I'm going to do now is I'm just going to turn off the particle system here what we want to do is add an animation to the actual plants so that they're not just static so let's jump out into our solid View and jump over to our plants here so the way we can animate these is we'll click on a plant and we'll add a a displacement modifier to it now I know that looks scary but instead of Direction normal we're actually going to do X and the way this works is it's actually going to move the plant on the x axis now it's moving the entire plant so we have to fix that but the strength is too much so we're going to go down to 0.1 we're going to use a texture for the displacement what that's going to do is allow us to vary the look of it so Cloud texture you can see here that there are black and white areas so it kind of creates this waving effect so if I play this nothing's happening right now because we actually have to link the texture or the displacement to an empty in order to animate it so what we'll do is we'll create an empty so I'm going to move our cursor back to the world origin so shift s we'll bring up this menu and we'll just do cursor to world origin and that's going to bring it back here so then now what we can do is create an empty empty plane axis and we'll just put that there and what we're going to do is we're going to animate this so we'll do first we'll go to the first frame and we'll press I and then set it location key frame and then we'll go to maybe 250 and then we'll do GX and we'll just move this there and then I set another location key frame and then we want this to move in a linear fashion so we want to select both of these rightclick and we'll go to interpolation mode linear so now if I play this it's moving slowly with no ramp up and ramp down at the start and end so we can select this this now and Link our displacement to the object which is the empty so object click on this empty and now if I hit play you can see that the plant is moving as far as the texture goes 0.25 is too small so we'll do 6 so that's a decent start but what we need to do is limit the displacement here so you can see it's sliding even the base and that's not what we want we want the base to stay still so what we'll do is we'll go into weight paint mode select this tool right here which is the gradient tool go to the top of the plant click and drag down and hold control and you can make a straight line so you can see it's snapping there so the red areas are what's affected the most and the dark blue is not affected at all so just make sure that the bottom is dark blue there and we'll jump out of weight paint mode now what that did was created a group here so we'll do weight we'll just rename that to weight if we go to our displacement modifier we can specify the vertex group weight that we just created now when I hit play you can see that just the top of the plant is moving and the bottom is still so we're going to have to go through and do that for all of these so the first thing I want to do before I even do that is just modify this because I don't think it's moving fast enough so we're going to go to the end and we'll go g X move it a little bit more and then set a new key frame so I location and now let's take a look here yeah so that's a bit better so now we just need to apply this to the rest of these plants so same thing here add a displacement modifier Direction X strength1 We'll add a texture here go down and make this a cloud texture set it to 2.6 is a good place to start and let's see how this is working it's not linked to the empty so what we have to do is use object for the coordinates and then link it to the empty and now you can see that the whole plant is moving so that's not what we want select the plant and we'll go into weight paint mode and create another gradient F there so so that's good jump back out and then we can specify that in the displacement right here now just rename it weight so you know what's going on there and then now that's looking pretty good but the base is still moving so uh let's see what we what we did okay so yeah so wait and now just the top is moving so that's cool it's a little bit bit of wind movement and then we'll do the same thing for this guy now technically you can do something else here too you can add another displacement so we'll just duplicate this so instead of just the x axis you can actually switch it to Y as well and it'll move on both the X and the Y so just in case you wanted to do that that's another option too looking good and now when we come over to our main geometry here and we enable our particle system you can see that our plants are moving all right so I want to actually trim this so let's just disable this real quick you can see that my hand kind of comes in and comes out I should have done this at the beginning but we're going to do it now so so right here about 140 we'll start and then end around 250 that's fine and that's when he he touches so that's cool so we'll start at 140 we'll save this now what we want to do is actually have the plants grow so let's go ahead and do that so this is a little bit tricky but we'll get through it so the first thing we need to do is create a brush and also a canvas so this is actually going to be our canvas our main geometry and the brush is going to weight paint onto the canvas and you'll see what I mean in a second so first of all let's set this up so we'll click on our main geometry here and we'll click on Dynamic paint and we'll set this to a canvas we'll add a canvas and then we'll change the surface from paint to weight and then we from here we have to specify a brush so we actually have to create the brush so let's go ahead and do that from here let's do a mesh and we'll do a UV sphere we'll scale it down and the trick here is to animate this so it aligns with the hand touching so here is where it grabs so we want to start maybe somewhere around there we'll set a key frame so location and then we'll have it come up and then around so we'll do gz and then GX and then we'll set another location key frame so you'll see that it's moving diagonally so what we need to do is actually first of all let's make this uh linear we'll open the graph editor and we'll hit home so that we can find these key frames here play with this so we'll scale this out so we want to make sure it comes up and then around up and around so that's not coming up high enough so what we need to do is adjust this curve here and actually rotate it so so that might cause a little bit of a problem but we'll see here so just I'm just going to bring this down a little bit and adjust that key frame and so that's looking pretty good so that's going to be our brush so we'll actually have to put that in a brush collection so we'll press M new collection and we'll just name this brush okay and then we'll do dynamic paint with our sphere selected and this is not a canvas this will be a brush add a new brush and then this will be proximity so it's going to weight paint based on the proximity and we could also do um mesh volume in proximity but we'll just do proximity now if we increase the distance the fallof is going to be smoother so let's increase the distance to maybe three but you want to watch out because when you run this and actually hang on we'll select select our main mesh and then go into weight paint mode so we can see this now we have to specify the brush first so brush collection brush and that's pretty good so we'll just play this and nothing's happening so let's figure out why so what we actually have to do is specify our vertex group so that's what the problem is so we just want to add this so DP weight it adds this automatically but you actually have to like add to tell it that you want to actually create the group so we'll click the plus button now it's added it and then we'll go back to weight paint mode and you can see here that that's working now the issue is that it's already affecting the main mesh here so we're going to have to change the size so let's actually scale this down and control a and commit the scale and we'll select our main mesh again go back to weight paint mode and the problem we're seeing is the radius of the brush is too high so instead of three we'll do 1.5 and then we'll select our main mesh go back to weight paint mode and you can still see that that's too high so let's uh let's try one again and uh commit the scale will be on the main mesh okay so that's better but it's still affecting that so we have to move this down further and we'll just set a new key frame here so location it should be okay okay yeah so there we go okay so it's better but we're still getting we're still being affected here by by that so so again we are still too close so let's move this guy down make sure you're on that key frame gz move them down and then set a new location key frame and now we can jump back here and test this and still we are we are too close so okay so I'm just going to decrease the distance here so 6 that should fix it yeah so it's a little weird but you know uh a lot of trial and error here and yeah so that's better I think we could probably do a little bit better here by doing 7 so 7 back to weight paint mode on this guy so we can monitor it and that's looking good hey guys sorry to interrupt this video I just want to remind you to like And subscribe so you don't miss out on future videos including future film making and visual effects tutori tutorials all right let's jump back in and actually what I want to do is have this guy come up a little bit more so rotate that not on the Y so let's lock the Y AIS and then just select Z and rotate this so it comes up a little higher so let's see here okay that is looking good yeah so I was just trying to get more red closer to the hand and I wanted this guy to kind of come up a little higher before it started you know moving over to closer to us so so we'll turn our particle system back on and still nothing's happening why because we actually have to go here to the bottom here and we're going to use the vertex groups and we'll use DP weight which is that vertex group that was created by the brush for the length here so we'll just enable that and that should do it but it's not working so we have to go to a modifier stack we need the dynamic paint to happen before the particle system so we'll just move this on top so that the particle system sees the dynamic paint because if the particle system is on top that means it's coming first and it doesn't see the dynamic paint so put the dynamic paint on top and now we can see the plants are growing so that fallof is actually a little bit too much so let me just look at the weight paint yeah so the fall off is too much so I'm actually going to go into the brush here uh go back to point let's try 0 4 that might be too strong but we'll see how that looks that's not bad actually um let's try point two just because yeah so that's a little bit better so now if we just go into rendered mode we can see that our plants are growing and again we're going to have to Roto around the hand but that's fine and of course we may have to adjust the timing but we can actually do that in compositing too so that's a good thing because the camera is locked off so we can actually slide that around so I'd rather do that in compositing so we can get the timing perfect so I'm actually going to check this out okay yeah so that's cool so we want to make sure that our brush is not visible what we'll do is actually we actually have to Let's select the main geometry here and um we'll we'll bake that okay so now we don't need the sphere anymore so we'll just turn that off in the render and also in the viewport and we can see that we have plant growth so this is our particle system I'm just going to hit shift d and then right click to move it back on there so we've duplicated the main geometry so this is going to be our shadow catcher so what I'm going to do is actually remove remove the dynamic paint and I'm also going to remove the particle system and we'll go here and we'll go into it visibility click on Shadow Catcher And now that'll be our shadow catcher so we have to go back to our particle system and mess around with this because for some weird reason it it just you know since we made a duplicate it does some weird stuff so let's just go back into weight paint mode and let's enable our brush again and of course the weight paint isn't working so what we need to do actually is reim this so we'll just delete the bake and we'll bake it again okay so delete bake and again lots of weird stuff happens sometimes so you you actually have to kind of make sure that everything is working okay okay that's that's good so then we'll just bake this out that's fine let's turn on our shadow catcher make sure everything works and it's looking like it does do that and okay we have our shadow catcher and the render now we need to add an hdri because this is obviously it doesn't match what's going on here so let's get rid of our default light here and we'll go over here to easy hdri and we'll add an hdri that we think would work let's see okay so I'm going to un check transparent so we can see the hdri and I'm just going to rotate this so that the sun is actually behind or to the side cuz that's the way it was in the shot so roughly around there I don't know if this is going to be the best hdri I think we might actually have to switch it but let's click on transparent and yeah let's let's choose something else so let's go with maybe this one this might be too blue yeah it's a little too blue and not enough Direction let's try this one so transparent let's rotate this so the sun is behind us so this is probably not the best one let's try this one we just have to move it so the sun is in the right spot let's move it around this way cuz the sun in our shot was a little bit off to the right there or the left so let's do that let's go back into the camera and see transparent so the sun should be somewhere around there yeah so that's good um we actually want to lower it too so maybe we can choose a better Sun a better hdri I mean yeah that's not terrible we can definitely color correct that but let's um we can make that work so we'll shut off the sphere so we don't see it anymore and that's looking pretty good okay so I think the bottom is misaligned a little bit so let's grab our particle system geomet Tre um go into edit mode and we'll just grab the bottom vertices go back here oh actually we actually have to enable x-ray mode so we get them on both sides so there we go and then we'll hit gz and let's just align this here we go there we go and uh we have to do the same for our shadow catcher so I'm actually going to jump out of edit mode for the particle system and we'll go into the shadow catcher here and do the same thing okay and then gz just to bring up that bottom and just align that with the bottom there all right perfect so now we can enable our particle system again and our shadow catcher let's just make sure that yeah it's a shadow catcher we'll turn this back on and we'll see what this looks like okay so now because I adjusted the geometry we actually have to rerun the cach here so delete the bake and let's turn on the brush okay so our shadow catcher is here let's turn that off for a second particle system we have to rerun the the bake here so so particle system weight paint mode for the particle system that's working okay come back down here delete that read it and let's see if that works okay cool so particle system we have to turn that back on now you just have to kind of go through this process that's looking pretty good let's bake this so we don't need the sphere anymore and we'll go back to the particle system and we'll see what this looks like okay perfect now we'll hit F12 just to do a test render make sure our shadow catcher is doing its job and the plants are growing that's looking good so we'll stop there okay so we have our plant growth we have our shadow Catcher And we have our you know particle system working okay so the only thing left to do now is to render this so before we do that select your camera and just make sure that you have motion blur enabled and you can do depth the field if you want as well but we can do that later in comp is probably the better place to do it I'm just going to turn on motion blur here and so that's cool so now when this grows you can actually see that we have motion blur so you can see that here there's a bit of motion blur when the plant is growing so the only thing we have to do now is just render this out and we can jump into comp and we can finish off the shot inside of After Effects so here we are in After Effects and I just want to break down what's going on here if I just scroll through here you can see that we have this Roto layer and let me change the color here so you could actually see it so I'll change it to red and when I scrub through here you can see that the mask has a little bit of movement and technically I guess what I could do is start the Roto layer here doesn't really matter but I can trim that layer to start there and you can see here that the mask kind of if I zoom in kind of folds in on itself and uh that's just so that we can remove any MK mask that's around the finger because we want this part here to be Roto so if I just remove this mask you can see that part of the flower or the flower growth is underneath the hand and so what we want to do is as it grows in front of the hand some of these bigger pieces we want that to show up so that's why I have that mask kind of animated there so that it can start underneath the hand and then animate up and go in front of the hand and if I just remove this Roto layer you can see what exactly we're removing when you design the flower growth what you want to do is get it as close to the hand as possible you don't want it extending beyond the hand back here to these areas you basically want to start the flower growth pretty much underneath the hand and right at the edge so that you don't have to Roto any of this stuff back here cuz that's going to get extremely complicated especially when you have big flowers like this that are going to pop up it's just going to get really complicated and so just start the growth here here in fact this is probably even too much so you want to probably push this over a little bit so just something to keep in mind as you're designing this to make it easier on yourself I mean technically we could take the shadow passes and the beauty pass and just kind of shift them this way um but it's not really the best way to do it so let's say I did I did this and then I rendered it it's not that bad it actually works so that is something you can fix in comp but I'm going to go ahead and say that you should probably not do it in comp and you should just make sure it's right in the 3D program before you get out to comp so aside from the Roto layer here another thing that I have going on is on the beauty pass I have a blur and what that's doing is actually let me turn off the film look here so what this blur is doing is actually just making it a little less sharp and CG looking and it matches the footage a little bit better so usually I use a fast box blur around a 0.1 sometimes it might be a 0.005 and sometimes it might be a little stronger than than a 0.1 and then we have some lumry color which just basically is taking out some saturation that's the only adjustment here and then we have a camera lens blur now this is important I'm going to turn off the beauty pass and the shadow catchers for now just so we can look at the footage underneath and you can see here that when we get to this bar and a little bit before it there's a there's a bit of a blur uh with depth of field now I tried to generate this using the Mist pass here but as you can see the Mist pass actually didn't work in this case so I ended up not using it but you can see that the Miss pass just all the flowers are kind of on the same focal plane and for some reason that's just the way it came out um I'd probably have to go in and do some adjusting to make that work properly but that's the misp pass that I got but I knew I'd be able to fix it with just a simple mask so let's go back to the beauty pass here and basically what I did was I noted the point where the blur really kicked in so it was around here so I put a mask there and then I used the camera lens blur and the blur radius was set at five and that did a good job of kind of masking out and blurring that edge and then of course with the mask I set a very strong a very strong feather almost 400 so that I didn't get this sharp edge that you can see here so if we blur it out at 400 now it kind of gradually falls off into this area here which matches the footage underneath as you could see here in fact we could probably go a little bit stronger than 400 so we could probably go like 450 to 500 but I'm going to leave it at that for now and then for the shadow catcher I'm just going to back up a little bit so we can actually see what's going on now you can see here that there's no Shadow so I dropped in the shadow catcher pass and that did a decent job but you can see here that while we are getting a bit of Shadow it's not really strong enough and if you look at the shadow for the hand it's a bit stronger so I just duplicated the shadow catcher pass and that gave us a bit of a stronger Shadow also when we're taking depth of field into consideration you have to think of what you're doing as far as the blur goes so take a look here we have the camera lens blur happening to our footage here but you can see this fringing and that's coming from the shadow catcher now what happens with the shadow catcher is that we're actually not blurring the shadow at this point so if I add a camera lens blur here it actually reduces some of that fringing and it's actually kind of hard to notice now so when we're talking about depth of field you actually have to remember that you have to blur also the shadows in addition to the beauty pass because the footage overall is blurred so if there are shadows in this portion of the image they're going to be blurred as well so you have to remember to do that so we actually have to add a mask here just bring that up the same mask that we have applied to the beauty pass is also applied to the Shadows so we actually have the mask and we also have the blur happening here so if I enable this you can see now watch what happens when I don't have the camera lens blur enabled you can really see that fringing there but if we enable it most of that kind of goes away and when you double up on the shadow catcher here a lot of that's going to kind of you can see that it's a little it's coming back a little bit so you really have to be careful with the amount of blur and also how you double up on this stuff so if we actually just take the shadow catcher here and just do an effect color correction and curves and we want to darken that you can see that there's less fringing but there's still a little bit so you have to be really careful with how you apply this so let's say here if you want to get a lot of the Shadows that are in there we'll just come here in the blue also and take some of that blue out and then what we can do is actually go in here and go into uh tint and just make sure our shadows are not tinted that much with the blue now we can do it a little bit so we'll just remove some of that that tint and basically what the tint is doing is desaturating it so we'll bring back a little bit of color but we don't want too much in there and now that we have this set up with our RGB color here let's just kind of roll that off a little bit and we have darkened Shadows so if I just enable and disable you can see we've darkened the shadows and we've kind of gotten rid of a lot of the fringing that happens here you want to make sure that the first thing you do is put the the blur on so that you can get rid of as much fringing as possible over there and then do the color correction on top of that so I think that's hidden well enough we're we're not really going to notice it so we can just go ahead and render that just make sure that that's something that you look out for and you're going to have to make adjustments to kind of get rid of that so then on top of all of this we have a film look which does a few things it adds Grain on top of everything so we have grain on top of the footage and also on top of the CG flowers here so what that does is kind of Blends everything together then we have a softening layer uh have soften the set to 20 so that basically softens everything the footage and the CG and then we have halation here which actually Blends the footage a little bit you can see there's halation happening here and it kind of bleeds over onto these plants so that's another way of combining the footage that we shot and also the CG elements so anytime you have the opportunity to kind of bring those two things together I would go ahead and do that and then on top of that what we can do is actually add a solid layer here and we'll just name it optical flares and we can add optical flares like even this you know this could work and we can just bump this up to 100 and now we have a flare here so if I move this around look at the bottom there we have that flare there so if we just put this sun here now we have this flare over here that's kind of combining both CG and the regular footage and uh we can also kind of just knock this down to maybe like 80% so it's not so obvious and then we'll just render this out and play it and now we have that element over everything so that's just you know again it's another way of combining everything together anytime you have the opportunity to have something that overlaps both the CG and the raw footage that overlaps or kind of brings them together I would take that opportunity so that you have all these different things that blend both the CG and the liveaction footage together so whenever you have the opportunity to do that I'd highly suggest you do it without being overbearing or in your face so let's take a look at what we have here and that looks good and that's it so if you like this video please like And subscribe if you have any questions leave them in the comments and I'll try to get to them as soon as I can once again my name is Paul doio and I'll see you guys next [Applause] time

Channel: Paul Del Vecchio

Views: 8,101

Keywords: blender, blender 3d, blender 3d flower animation, blender 3d plant animation, blender animation, blender animation tutorial, blender particles, blender tutorial, blender tutorial for beginners, blender vfx, blender vfx tutorial, blender weight paint, flower growth animation blender, flower growth animation tutorial, flower growth vfx, flower growth vfx blender, flower vfx animation, growing plant animation blender, plant growth vfx, plant growth vfx animation

Id: MSl9TcYqgvg

Length: 44min 29sec (2669 seconds)

Published: Tue Mar 12 2024