Learn VFX in 44 minute - Blender Course

let's add and remove everything like a bowler and texture painted markings or these plain tracks and some cool flakes or sulfur Cameron at your dream car welcome to part one of the add and remove everything serious cool so let's jump straight into tracking some stuff going to your motion tracking our footage set our frame range for the scene this shot sort of starts to get interesting from here we will reveal the garage door and stuff so let's just say 200 to 400 frame 200 too 400 beautiful that feels good and I think we can pre-fetch that yep and prefetching makes playback real smooth right away now we have to match the resolution I wish no there would be a button for that so we have 38 40 by 2160. let's start setting some trackers so we can get to blender 3.3's new plane tracker right away and put some um interesting um markings on the road so I feel like I this this area here um lens itself to some trekking I like to jump into the middle of the shot and set my markers uh from there I like to use a finesse setting and if a fiend has the tendency that it distorts at some stage and being in the middle of the shot gives you the least amount of distortion because you go equally forward tracking as you go backward tracking uh rather than going from one end to the extreme all the way through so I found that that gives me the least amount of error talking about it here we go found an error right away if the tracker loses its position I usually just Notch that handle there and make it a bit bigger and see how we're doing yep let's Notch it a little bit we're going now what so this one struggles a little bit there that didn't work so let's just make this area the search bigger cut us a bit further okay and that is the end so overall the preview window shows there's a nice nicely sticking trick of this far not sure the bit so this can be cumbersome but overall it gives you still uh reasonably good control over what you do and hopefully this will be the most challenging tracker we started with here right away because yeah I think it's a deal a little bit less of this but it's a good start for you guys to see that tracking can be cumbersome at times uh this area here and we include both of these dirt spots let's check backwards for start whoa look at this this went super nicely right away forward tracking a little bit of a hiccup there where are we there there you see the skewing that happens with the fin not too bad in this case Okay so if the preview window of the trigger goes blank then I tend to just zoom in rather than out because obviously something is annoying in there maybe the search area was too big and we have two triggers that sit nicely now let's go for two more so we can set our first plan track control clickity click and we go forward again all beautiful all the way to the end sticks nicely I was hoping that we would find trig points that yes that get us a bit quicker through the process beautiful take this dirt patch there Ctrl click track backwards sticks nicely Trek forward oh beautiful this one went like a treat so now you see we have four tracking points shift click each of them or just Ctrl a and we go for plane track now if we don't want to paint this torsion like in this case I went further in the timeline and you see how the plane track is actually now it's it's distorting right this is what you have to consider when you when you paint if you don't want this we can undo this playing trick go to a frame that we feel like has the least amount of distortion for what we want to do and then create the plane track here's our plane trick over here let's give this a let's say driving a name there we go onto a little drop down here create image from plane marker let's open the image editor drive in and there it is in order to edit it externally yeah we have to save it first drive in beautiful and now we can edit it externally so in order to get those nice washed out marks their their weather they have been driven over rather than looking brand new I'm going to show you a little trick that I found quite quite Nifty and it's relatively easy to achieve let's get um let's get a shape shape tool there it is so we have flowers um okay I thought I would have errors now well let's go for let's go for flowers then let's take this one here beautiful okay now rasterize that so we can deform it a little bit so now we have somewhat lined up all the the outline of the flower with guidelines we have from our concrete patch now let's get to the weathering if I use the underlying layer to specify where the flower is transparent and stuff we sort of see already where this is going to but it looks like we're just fading it out so we're not quite there duplicate Ctrl J our background layer create a curve alt click on the layers so the curves will only affect that layer but it's still doing everything so we will have to control select our flower create a group and give that group a mask from our selection and we're going to shuffle that in there as well so what we have now actually the curves because we have a mask in our group now we actually don't need to necessarily link the curves to our lying layer it is doing it already so here's what our curves are doing the darken the concrete below the flower if we now select our flower layer and under blend if the underlying layer to create something like that starts to look nice to me now we go back on the curves and maybe we just climb it around with how the Curve so that looks good to me and so what we have done is is rather than just blending out the flower we're actually revealing new information underneath which is this darkish concrete patch okay cool let's just merge these layers with Ctrl e save it we go back and blender we open this image pretty much just reloading it there it is and we scrubbing our timeline and guys look at this how it sticks nicely and it also bypasses blender sort of weak spot that you need to have eight tracking points to create a solve we have our first ground marking here foreign welcome back to the remove and add everything tracking Series in part one we set up our tracking scene edit our first plane track and weather Road markings to the driveway so if you haven't seen it do check it out up here now on this part 2 we will create a 3D camera from our track and build a 3D scene based on our footage so let's get going I jumped ahead and added quite a few more trackers in the same manner as explained before and I swapped out the flower for some errors I found some error save now as for adding a trackers you want to focus on your area of Interest like where do you want to add your 3D elements right for planner tracking it's not so important as I said before but for 3D tracking this is where you want the markers to assure that things really stick you need the information where you want to add information so in my case that's the driveway and now we head over to to solve and just see what we get out of the bag and we get a terrible terrible soft area of 4.8 that is inacceptable we cannot go ahead with this and that is because I didn't tell blender to refine the focal length though these are the specifications of the manufacturer of that camera something is obviously not quite right and I might have the suspicion that my sensor width is actually the diagonal of the sensor not the width so blender wants to change something and I give it permission to solve that and we get a pixel error of 0.8 much much more acceptable this is actually really good so that also shows you how important it is to know what camera you shot that footage on or blender will have a hard time getting it right so let's um so let's just set this as a background and set up our scene and then zero and wireframe mode to look through our camera in this View and this is going to be our 3D View and our cameras all the way up there now the cube is somewhere over there in the other house so I noticed that the shot pivots around this specific marker so I will set this marker as my origin for the scene and you see the camera now jumped in there but also this shows that our two meter cube is now covering the entire driveway so a scale is our scale is definitely off before we adjust the scale though we need to select three markers that are flat on the driveway and tell Linda what the ground plane is and that looks good I think yep here's our here are markers and all three seem to be nicely located now the scale I know that these pavers Subs accidentally notched it there so I know that these pavers here are one meter large so I select both of them and attract them specifically to set scale set the distance to 1 set scale and here we go our camera jumps back out of the cube one last trick I want to do I know that the driveway is 4.8 meters wide and I measured that out as well so I'm gonna give it those specs and now we jump into the camera with period you select 3D cursor as our pivot because it's sort of at the origin and then we will just try to do our best to line up our scene with the lines we have on that seems to look very nice indeed let's edit our ground plane a bit select this Edge slide it roughly to here extrude it out to roughly here I think I want to line it up with this edge here that could be a right and I will explain in a minute why I want it that way and then we grab the back edges and we will bring those out as well on X just so we touch the edge of the house there and then we will bring that one out here we go and now we see this front edge seems to float a bit and that is because the driveway actually goes down a bit we have these trackers here are the markers we have right there so we want to bring that edge down to those markers so G shift y and place them right there it looks good and if I now scrub through the footage yep that edge sticks quite nicely now why did we have this big hot corner here when there's actually in fact quite a smooth corner so by selecting the vertex Ctrl shift B for beveling the vertex scroll wheel middle Mouse button and we do it like this and we have created our nice corner there I could refine these things a little bit more but for the sake of just going ahead we call it quits and we want to give it a texture new material Ctrl T and I already have a texture in here which is frame 290 of the sequence but we can't see anything right now and that is because we have to jump back into the geometry U project from view you have to be in the camera for that little mistake we want to also go to frame 290 and project from view there since we're using frame 290 390 to to project an image so we want to project the UVS according to that image and here we go things look good slide offsets here and there that can be fixed by spending a bit more time on the geometry there so beautiful that sticks very nicely now not so much for the car but that is because the car has 3D information while everything else is down here on this 2D plane so to fix that we would have to create 3D geometry for the projection to have something to project onto correctly or more correctly so let's extrude these walls there and bring them up a bit select all the polygons make sure we are at frame 390 which we are you project from View and our texture frame 390 is projected onto these walls now the projection has now something to work with they don't behave so nicely on this area because that again is a flat area that we now pulled up but for the sake of demonstrating how you would set up these things I kept it there now with all this in place join me in part 3 where we will remove the pile of rocks on the driveway and add 2D and 3D elements to our shot instead so click here and I'll see you soon welcome back to the remover net everything tracking series that's right in this part 3 we will composite our elements over the footage and remove the pile of rocks on the driveway nothing to be afraid of okay so here is uh another little jump I took the freedom to create a few more details on the geometry here so the garage door those flags nothing to be afraid of really uh but also nothing we really have to go into detail here there's um these are all just really really basic models really but what you will notice is that our plane tracker or ground markings are gone and that is because they are composited over the rendered images so we jump over to the compositor and well that's quite a tree again nothing to be afraid of we have all three scenarios in here this the The Rock Shop the Porsche and the yard sale and then obviously here also so this is the background sequence uh this is my license and that feeds into the other scenarios so let's go to scenario yard sale so here we have our drive in and out arrows the 3D elements the markers around the car which are special I'll talk about this in a second and we have our pile of rocks over here which we're going to remove in a second so quick note on the markings around the car if we look at that image yep excellent so we see that these are actually largely transparent and that is because of the same reason I told you before the card goes up in in space while the markings stay flat on the ground therefore had I left the car in this texture it would have distorted as the camera moves through 3D space so the only information that I wanted to add is the markings on the ground that I run the car so here we go this this works nicely there's no overlap with the car which makes things easy and and it just and it just works now let's get to the pile of gravel and remove it together stenciled out I'm just going to do a really rough job here right now for you guys because we can right so we leave this little bucket in there because it's uh nice and prone so and we save that and all we need to do now is to pile of rocks and it's gone in the preview in in the image View and if I start to scrub the timeline it's gone in there as well that is so powerful you don't believe and look how nicely it sticks so we need an image we need a wait playing trick to form as well so we connect these two we look for nothing here there it is there's our image it is in the scene already because we created it in the tracker it's one of our plane track images and therefore it's in a file already and in the plant now now in the plan track the form options we want to make sure that we have the camera selected we have uh the correct footage that we and that we selected the correct plane track so we see here we have the license plate the river patch a drive out in the car markings right we want the gravel patch plane track and tell it nothing here has its texture beautiful now we just duplicate this Alpha over and Chuck that in there give it a second a second to think and here we go that is how you implement your plane trackers in your scene in the compositor not too hard I hope nothing to be a friend and that is the end of this video join me in part 4 where we will color match 3D elements to existing ones in the shot and texture paint more Road markings as an alternative approach to plane tracking click here and I see you soon so welcome back to part four of the remove the net everything tracking series let's jump straight into our next scenario which is the rock shop as you can see we got lots of rocks what we focus on is how to bring in assets like this rock color match it to existing materials in the scene and also how to add these beautiful Road markings more Road markings however these are texture painted as a nice alternative to having to plane trick things as it gives you sort of the advantage that you don't have to leave blender to implement those details and having to you know go to an external photo editor the downfall of it however is that you will have to render these editions out as a image sequence if you want to composite it into into your scene separately cool so here we are on our camera I'm using blender kits to bring in assets the easiest way to do that really is shift right click to place your 3D cursor because that is where blender kit will add your selected asset to the scene click the eye icon up in the top hope to bring up blender kits user interface type I don't know large rock hit enter and see what it does there you go if you want to there's a filter option free first so that you don't have to worry about paying something right now and then there's your previews as you hover over the images here's a table there's our preview box it fills up with green as it loads the asset in of course we don't need a table there right now we want rocks so let's just go with rock 4 and this one pretty much loaded in in no time at all I select the ropes scale it up a bit because I want a massive Boulder I place the 3D cursor shift right click right on that edge jump out of the camera um zoomi zoomy in a little bit and then press R oh hold on period key 3D cursor and now press R so I can roll it around that edge it's a Nifty trick I think same for this perspective here I just wanted a little bit of Shadow catches under the Rope so it doesn't just so it's not so obvious that it just sinks into the ground perhaps we go back into the camera G shift Z to slide it across the ground plane without elevating it r z to just bring it around a bit and I think that looks nice maybe just a tit down so it doesn't feel like it's kissing the wall quite as much and let's just go with that let's just jump into our renderer so what have we selected yeah select Cycles GPU get rid of blender kits and let's just Z render that um B actually Ctrl B to select our region of Interest so rendering is a bit more responsive and this is where we are now the obvious thing is our Rock doesn't really fit with the existing material clearly this has moss on it this doesn't we also have less contrast and um in general a a different color cast like the tonality is different so let's just line this up if before I'm waffling too much that here is our base color and I think we're just gonna start with the saturation let's bring down the saturation to something that we feel comfortable with values of it so it doesn't seem to be quite so dark something like this starts to look alright let's get let's get a curve in the as well so that we can take of the the veins in there a little bit more so I think like I just wanna increase the dark areas by quite a bit so it's not sub contrasty and also maybe just lower the bright the wide values a bit so we have generally generally a lot more flat appearance because that is sort of what I'm seeing with all the other rocks around and then we just let's just have a look how this feels okay this is definitely too much so the value I just bring this back down to one and then we just adjust the white values um in the curve separately and that feels that feels about right I think that is good however we have quite a strong blue cast here so we're going to add a mixed RGB node bring that in set that one to color and then we just pick a color that feels like it could be right so let's just dial back the factor a bit until things start to feel more natural 0.25 all right not too bad idea raising the levels a little bit there let's say 0.4 and just get the values up to 1.2 I think we're we're getting somewhere here so ah yeah yeah okay here we are beautiful look at this guys we reduced the saturation we reduced the contrast and we added a color tint to the final output to match what we have in the scene already and then at the end we slowly dialed in brightness and tonality until things really started to gel so that is it I'm pretty happy with that so let's move on to texture painting for that I quickly jump into the top view I select my ground plane beautiful so here's my ground plane and he is already a texture that I painted previously let's forget about it and create a new texture image texture there you go this is what we want to see create a new one new markings and press OK let's jump into texture paint tap texture paint and let's select a texture boom so this texture comes from immobile thanks Ian I'm going to use the checkerboard and straight lines for this maybe so something that everyone can very easily recreate on the on their own so let's jump into the brush settings then we want to define the mapping of the of the brush as a stencil which brings in our texture right away Oopsy Daisy right click to move the texture otherwise the viewport works as normal so right click to move the texture shift right click to scale it and control right click to rotate it now yeah so let's just place the texture um I might just line it up a little bit like this maybe just increase the strings as well here we go there it looks better there you go beautiful and then X to get rid of that and then we can right click move the texture a little bit ever so gently and keep going that looks good and then why don't we just oh why don't we just make it real big here we go just for the fun of it so I painted it let me quickly see what we have this is what we have painted now let's get into the weather ring we don't want this thing to be freshly painted it should be worn so for that our mapping should be managed to view plane our fall off should be changed to just go forward I don't know what we want smooth that will give us as you can see smooth fall off and as you also noticed hopefully we are still painting with our texture that is not what we want press the X and now you have a smooth brush beautiful now let's let's uh creating something a little bit more natural bring a little bit of jitterness jittery shift F lets you reduce the intensity of of the brush and then we just entered so there it is this gives you a little preview of how your markings could look like you now need to render those out as a separate sequence so for that I would set my foreground elements the rocks and everything perhaps to hold out so that it would look like that that one as well hold out do a little test render so you know what you're roughly getting it specify a pass new markings underscore Inhibitors and open exr with dwaa lossy rgba for float and that will give you a sequence that could look somewhat like like this and we will use that as a mask in our composite now so so here you see our markings in there already there's a boulder we also matched the Shadows already but we will get to that in part five when we bring in the Porsche and get into the nitty-gritty things of gelling really everything and there's so much that it really deserves its own uh chapter so here's a here's our Boulder nothing too special about it really we just Alpha over it here's our background with shadows already I tend to render the Shadows separately and I get to that in the next part and we bring them over with Alpha over so really straightforward there however the attention needs to be paid when it comes to markings here because we don't just want to bring in the markings as black and white right so here's our mix node and it's set to Overlay so what overlay does it makes things brighter as well as darker and remember what we learned in the previous parts in Photoshop wherever we want to weather away the freshly painted markings we don't just want to reveal the unchanged texture below we want to reveal new information so we don't just want to fade it out in other words overlay will help you here because we have two elements coming in one one is our original footage from the Drone and the second one is our markings which have been colored and the markings that we painted we only used as a mask see they go into the vector for this mix RGB node which is set to color this is how we got the yellow if I disable that will I get anything yeah I will get White markings I wanted yellow markings and therefore a mix RGB node set to color this RGB curves node here is there to control the saturation a bit better it was just way too intense and by dialing things back a bit I just nailed this without look a bit more it doesn't make sense the things that perfectly saturated and flush but also weathered in my mind that doesn't go hand in hand so with this logic I increase the exposure of the Drone footage but it got way too hot then so I clipped the highlights just dialed it back a bit and That Was Then fed into our first slot the second slot is just the color and the factor coming from our mask is controlling where we want to change the color right and then these feed into the overlay node here comes the shadows and our 3D elements and we got everything so this concludes part four of the trick everything blah blah blah series join me in part five where we will be adding the Porsche and really going to the nitty-gritty things of gelling things together by having interactive Reflections as well as matched Shadows to live action references in this shot click it up there and I see you soon so welcome back to the add and remove everything series let's jump straight into adding this Porsche as mentioned in the previous Parts I'm using blender kit shift right click to place your 3D cursor where you want the new asset to come in Click the eye icon to bring up the user interface and retype in Porsche and there we have our 911 thanks to this for that and we bring it in that doesn't seem to be I mean it reminds me to an artwork I've done in the past but let's uh let's try better let's maybe just click it yeah that's better now with the portion you want to place it r is that you just place it a little bit where we want through a camera I feel like the push is a tad too big so let's just period 3D cursor to Define our 3D cursor as our pivot for the scale operation s and we're just gonna eyeball it we could Google the measurements of the car but I think that has a good feel to it beautiful so we have the unique opportunity but also the unique challenge that we have a pre-existing car now so our brains automatically want to compare these two cars to each other and sort of figure out if we actually own a Porsche so we need to match light Direction so the Shadows Fall this way we need to match exposure in general uh we need to match the core Shadows under the car they're really dark and re-cling to the undercarriage and then there's the tinted outer Shadow which has a bluish Color cast to it it's also somewhat soft it's a weird lighting it's it's a it's it's a half overcast half sunny day really it doesn't matter as long as we mentioned but then also we want to make sure that our car doesn't look flat and and there is a trick to this here so we get to that in a second okay so here we are in our camera I jump into render view Zed and render and everything is beautifully black because we have set up no lights at all and no environment in this scene yet um for faster response time I will also control B and select my area of Interest around the cast so rendering uh will process much faster shift a and bring in our first light which is a sunlight what a surprise let's bring it up a little bit so we see it a bit better rotate it on the x-axis RX and just like a links that sort of lines up with what we see in the in the other car perhaps something like this double check yeah it's definitely coming bang on from the from the from the left now we just have to work on the harshness it's definitely way too hard so we go on the light settings and just bring up its size until something feels feels about right yeah perhaps something like this and then the intensity bring that up because it's way underexposed right now I don't want to push it any further because we have no environment yet and let's just see how we can lift the fill light with a with an HDR that we put in our environment so we go on our world on the yellow button environment texture and we open I think Glacier could be nice for this one here we go okay it still feels underexposed again we compared to our existing car here so let's just let's just bring our environment um up a bit it seems to work much better already apart from the side of the car this really not much definition we have on those panels here I think it just gets too much fill light from our HDR so let's just uh shift right click maybe just where this curses so a mesh maybe just a plane um and we scale this up a little bit maybe like yeah four meter or whatever r y it's like this maybe and we give it a new material a emission Shader which is black there you go now we can't see the car anymore what we're building here right now is a negative fill light so with the flag selected we are going into the object settings and under visibility we go under Ray visibility and deselect camera and all of a sudden we can see our car again and if I toggle now this flag on and off you see how much definition we actually get if I were to hide the house look what happens and the flag as well everything looks rubbish right now if I take the grand plane away then this is the car it's completely flat so let's bring the ground back in then we bring in our house and then we bring in our flag as well and all of a sudden everything starts to read really well beautiful so now with all this in place let's set up rendering I created uh two collections one is my scene which includes the Porsche and another collection which is my shadow catchers which is the flag the negative fill the ground plane and the house and we're going to render the car separate from the Shadows uh it's just for something simple like this the easiest way to avoid like masking and everything so let's just set the uh Shadow catchers to indirect and then if we render we will get something like this and now if we go over and change the shadow catches back to normal but the car to hold out we will get this beautiful car on its own Shadows on its own let's get rid of everything we don't need right now yacht sale no we talked about this already rockshop talked about it already so here's our Porsche these elements here let's just alt P ungroup them or unparent them and move them over to where they probably should be which is the background layer really they're just there to remove our pile of rocks on the driveway so this is what we want to focus on with our Porsche our shadow our background comes in from here and we hover over our CG elements so let's just create everything we see here from scratch shall we here's our Porsche here's our shadow don't worry so there's two scale notes in here don't worry about those I accidentally rendered the Shadows half resolution they are only full HD when they should be 4K so I set the alpha as well as the color information of this Shadow pass to render size and fit and the render size is already specified as 4K so don't worry about that now let's get a alpha over note in here drop it in our frame so we can actually stretch out the frame then we grab our background footage put it in the top and our Porsche and put that one in our bottom slot and then Ctrl shift left click to connect that Alpha node to The View and we have our Porsche composited but no Shadow yet so let's get the shadow in there we just shift the duplicate the alpha overnote we will grab the color information of our image and put that in the base and the Porsche will be composited over the shadow in the bottom slot of that and here we go now we could call it done here but the Shadows are black and white so let's get that color cast in here so for that we're going to get a mixed note here and Chuck that between our Shadow and the and the car and oh no everything broke that is because we actually didn't tell it where to add the white so it's adding it everywhere so we grab the alpha and Chuck that into the factor of our mixed node and here we go now only the Shadows are affected but it affected all the Shadows we have no separation between the the core Shadow right there that clings to the undercarriage and the outer Shadow which has our bluish color tint everything is just white so in order to compensate for that we will create a color ramp in chocolate between our Alpha and the mix node press the plus button to create a new colored picker thingy set that one to White that will be our mid tones on the left are our shadows on and on the right are highlights now we've got to the right to the highlights and drag them all the way down to blank and this is what we get now the areas that were 100 black should stay 100 black and not be not affected by our adjustment so let's give this a more sensible color go click on the white Color Picker pick a darkish tone from our reference image it looks still too pale so I will just crank up this saturation to the max just for good measure so we see something oh it actually worked quite nicely in fact that worked really nicely did we just did we just nail this yeah that would be fantastic just to recap we grabbed our background image we did composite our car with an alpha over on top of our background image then we grabbed our shadows and composite those Shadows under our car with an alpha Rover and then we used a mixed color note to tint our shadows and in order to do it correctly we used the alpha as the factor for this color ramp to Target the mid-tones of our Alpha in masking out all the highlights and all the blacks so that we only get the wider Shadow over here over here and not the core shadows and not the house so I hope this series gives you everything you need to go crazy with your ideas I'd really appreciate if you hit the like button and spread the words if you have any questions do hit me up in the comments until then stay relaxed and I'll see you soon

Channel: Manny Van Delight

Views: 207,290

Keywords: blender motion tracking, blender camera tracking, blender tracking, masterclass, blender compositing, compositing in blender, blender compositing tutorial, vfx compositing, blender vfx, blender vfx tutorial, vfx blender, blender vfx tutorial for beginners, how to make vfx in blender, how to add textures in blender, how to add vfx effect in video, blender car, blender car tutorial, blender beginner tutorial, easy blender tutorial, van delight, corridor crew, vfx course, best

Id: Lt_vjl_RvLs

Length: 44min 6sec (2646 seconds)

Published: Fri Sep 08 2023