Yes...You can create VFX Advertising using Blender and After Effects

in this video we're going to be walking through a beginner friendly workflow for visual effects advertising using blender and after effects now before we get started I just want to say a massive thank you to all of my patreon members if you are curious about all of the perks I offer I'll have a link down below where you can join also I just quickly wanted to point out I have two courses now one for visual effects advertising and then one for blender visual effects in general if you want to check those out and learn a little bit slower paced than this tutorial okay so first things first we need to go ahead and convert our video file into a image sequence just so it's a little bit easier to work with within this workflow so what I'm going to do is I'm going to use Vinci resolve to do this so all you need to do is drag and drop your footage into the timeline we're going to go ahead and change the frames per second and then let's go ahead and drop this inside of here now my footage is vertical so we do need to go ahead and right click go to the timeline settings and go ahead and check this use project settings off uh we're going to use vertical resolution and I believe this footage was actually shot in 4k so we're going to switch it to 4K right there and then once all of those settings are done we can just come over here to the uh delivery section and then once we're over here here are some of the Quick Settings I like to use uh we want to go ahead and select a new folder location I like to render an exr is my uh favorite and then uh RGB dwaa is what I like to select just to compress it a little bit more and then coming over here we're going to set it to start at the first frame and that's pretty much everything that I set up for my image sequences and then we can go ahead and just render that out and you'll render out the entire image sequence and then specifically for this workflow we also need a uh still frame and you'll see why in a little bit so what I'm going to do do is I'm just going to use the very first frame of my image sequence so I'm going to hit I and then o to set a inpoint and outpoint make sure it's Set uh to inpoint and outo right here this range and then all we need to do is change this instead of exr we need to select it to PNG now and then uh all of these settings should be the exact same this is totally fine and just set a new folder location if you need and just go ahead and render that out and when you add them to the render queue all you need to do is come up here and then just render those out so if you've done this correctly you should have a folder that looks like this with a bunch of exr sequences or whatever image sequence that you want uh so I have this folder right here and then I have one still frame in a PNG format and so those are both things that we need uh and now we need to actually go ahead and talk about the camera movement so as you can see in our video we have some camera movement it's shaking around a little bit and so we need to go ahead and match that in with our CGI to get more realistic uh camera movement in our blender program and so what I like to use for this uh is to use fspy it's a program that allows us to estimate the focal length and all these other parameters for the camera and it's going to really help us dial in that uh look so go ahead and download fspy it's down in the description below and this is where that PNG comes in we can't use exr because this program doesn't like exr and so we're just going to go ahead and drag and drop that first frame we can go ahead and dim image off and then I'm going to go ahead and just Place uh some of these markers so this is the Y AIS so I'm just going to place some of these down here on the floor right there and then uh this one over here cuz we have a nice line here as well it's a little bit blurry on frame one so um you know you know we can just get within margin of error and then next we can do the x-axis so I'm just going to use maybe this yellow line back here you do want to make sure these uh separate axises are perpendicular to each other but parallel to uh their same colored lines and so uh that will just give us the axes inside a blender so we can actually tell where the rotation of the camera and more importantly the focal length and so right around there is looking pretty good we can uh double check that if I place my origin Point down here we'll turn the X Y grid floor on on and now you can see that's giving us a pretty good estimation of the grid floor uh you can also see over here if we check focal length it's giving us a 30 number for our focal length and so that's going to be really nice to have for camera tracking inside a blender and so after that is all set up we can go ahead and uh contrl s to save that and save it into a new location there and let's go ahead and open up blender okay so inside of a new project inside of blender we need to go ahead and let's just reset everything so delete everything there and then what I'm going to do is I'm going to use a fspy importer add-on and so there will be fspy the program and then the add-on for blender in the description below so go ahead and download both of those and then we need to come up here to file we're going to go ahead and import and then go to fspy and so once you have that you just want to locate that fspy file that we just saved out okay so here's mine let's just import that in and now you can see we have a new camera in our scene and the ground is correctly rotated if I go ahead and place a plane on the ground uh you can see it's following the ground plane of the actual footage and so that's very nice to have okay so now we're ready to start camera tracking now in this specific shot we have a lot of handheld movement uh but it doesn't give us a lot of Parallax data and so in cases like this I like to actually use a specific method that I've been using for a little bit with a geometry tracking where we're going to track some of the geometry I actually tried to track this as a tripod camera movement but it was giving me a lot of errors and stuff because I think the camera goes forward slightly and so that gives us a little bit of Errors there so definitely go down in the description below and download the geometry tracker add-on I use it constantly throughout my workflow and it Sav me a ton of time inside a blender uh so with that add-on installed you can come to the side panel right here and here is the menu we need to go ahead and create a new go trer and then we have some things we need to input we need to first uh load in our clip and so that clip is going to be our uh image sequence that we rendered out initially so here is my exr sequence I'm just going to hit a to load in that clip right there and then uh when we load in a clip we do need to go ahead and analyze it and so you can see right here we have this analyze button so I'm going to go ahead and click that we can do the frame range so it's 1 to two 51 let's just hit okay there and just let it kind of load the footage okay so once that is finished we have this geometry thing up here now this is a geot Tracker add-on and so we need to go ahead and track some geometry in our scene and now real quickly I just want to show uh we are very blurry up here so what I'm actually going to do is I'm going to start our uh key frame range at frame 10 uh just to make it a little bit easier on us since we don't want to have to deal with that uh kind of blur at the beginning uh but yeah so we do need some geometry that's the nice thing about what we did in fspy is now we have this correctly lined up and so actually doing the geometry to the scene is going to be super nice and easy so let's go ahead shift a I'm going to add a mesh We'll add a plane right here and then I'm just going to G uh X move that down and then I also might bring a new window here just to make it a little bit easier and so we'll come to the top view then I want to hit s we'll hit Y to scale on the Y and then I'll go ahead and just uh make this plane a little bit larger over here just to give this more area to actually track um and that is looking pretty good again we just need an area that has a lot of detail and so I'm mainly looking at some of these kind of sections down here to have a lot of detail for uh the tracker to actually track some data so yeah so that looks pretty good let's go ahead and uh set that to be our object so right there and then if we come down here we now have a tracking window we want to set it to camera since we want a camera track and then we're going to go ahead and start the pin mode on frame 10 now really quickly you do want to go ahead and check that your object is actually being correctly uh shown in the scene you should see this little outline right here if for for whatever reason you're not actually seeing the outline once you come into this view you might have to go ahead and make this a more 3D object and so just extrude that down make it a cube instead of just a 2d plane and I find that that works uh to help eliminate that problem but as you can see here ours is working perfectly and then all we need to do is on frame 10 let's go ahead and press this button to make it track forward okay so the object track forward correctly you can see that uh now we have it basically moving along with our entire footage let's go ahead and exit out of pin mode and now you can see we correctly have our our camera tracked in our scene I kind of zoom out here you'll see that our camera is now moving instead of our object and that is exactly what we want uh so now let's deal with some of the CGI this is where we start to actually uh dive into the final look of the shop so the first thing I want to do is I want to go ahead and set up the correct scene scale and that's to do with lighting to do with depth of field all that kind of stuff that we need to have uh accurate measurements inside a blender for and so what I like to do in a case like this is let's go ahead and make a empty object so I'm just going to make a plane axis empty in the world origin then I want to go ahead and parent this object right here and then also our uh camera up here to our empty so I'm going to select my empty Last by holding control uh you can see it's highlighted yellow up here and that's exactly what we want let's go ahead and contrl P set parent to object and now if we just select our empty up here we can size it and scale it and you can see that all of our information is remaining the same and so now what we want to do is let's go ahead and make a new object so we'll make a mesh Cube and uh the mesh cube in the uh world is set to 2 m tall and so that is roughly the size of a average human and so I'm going to make it and use this guy and our scene as reference so what we want to do is I'm going to go ahead G I'm going to hit Z to move it up and down and then I'm going to hold control to snap it on the ground all I'm doing there is just trying to get the cube on our ground plane like that and then I can just uh G shift Z and move it all the way to where our guy is standing right there and the reason that's important is now this box should basically be as tall as this sky and you can see it's not so our scene is not uh scaled correctly so in order to fix this all we need to do is Select that empty again we'll hit s to scale and then I'll kind of scale it down a little bit and then move our box back so again G shift Z just move it to where he's standing I did a little to bit too much so now he's Way Too Tall and so we'll just move it back something around like there and now let's see that's pretty good that's within margin of error uh it's not going to be super precise but we don't need it to be since we didn't really take any measurements in the real world uh so yeah so that is set up correctly now uh that is basically 2 m so we can go ahead and just get rid of that that was just for uh you know measurement purposes but now we are actually ready to deal with the scene so let's go ahead and model out this scene uh this is to do with accurate Reflections accurate bounce sliding all of that stuff so let's quickly model this out so I'm going to come over here we can go ahead and extend this out a little bit more so we'll GX move that all the way to the camera and then we'll also size this out a little bit so s y to scale that on the Y so that is looking pretty good uh now if we come back to the footage we should notice that uh there's a little bit of a dip here if you think about like a train station so we need the object to go down a little bit and then go across and then there's also this back wall and a ceiling here so we're going to try to match that as well as we can so let's go ahead and come back to our model I'm going to select this Edge right here we're going to hit e and then Z to extrude that downwards uh I'm just going to guesstimate it's about that kind of much of a fall off there then we'll hit e x to move it over here and then we want to uh look on our uh kind of window over here to align it to the bottom of this floor I'm just going to be using the blue outline here but uh we can hit GX over here and right around there is when it connects uh to the blue outline right there uh and then finally what we need to do is e uh Z to move it up on the uh z-axis and then same thing over here I'm looking for where the ceiling actually meets uh the wall over here so it's roughly around this area and then finally all we need to do is hit e x move it all the way back here and we have successfully modeled out the train station uh we do want to make sure that we're not missing any bits so you can actually see right here we have a little bit sticking out over there what I'm going to do is just hold alt and select these edges over here then gy just move that over there so we can have the entire section of the train station I kind of modeled out there so that looks pretty good we are uh done with the train station model uh what I actually want to do now is Import in our objects and so what I'm going to do is I'm going to be using the blender kit add-on it's an amazing add-on for you beginners out there I highly highly recommend it I'm not sponsored or anything like that but I do have an affiliate link down below if you do want to check that out uh but yeah so let's go ahead and go to blender kit so once you download the program you can just come over to this side panel select the blender kit add-on and then what I want to do is I want to search for Red Bull uh this is the object that I'm going to be using and it's totally free for you guys to use let's go to search fil filters and go to free first and then we can just uh kind of scrub throughout here until we find the bottle yeah so here is the energy drink we can have this and just click and drag that into the scene down here and now we have our drink into the scene let's go ahead and start organizing some stuff so what I'm going to do first is I'm going to uh make a new collection we'll name this can and then I'm just going to place this Red Bull energy drink collection inside of that collection and then this one up here we actually have a few other things so we have this plane and so with that selected we can come over here right click I'm going to go to parent and go down to clear parent and keep transformation that way we can actually move around this plane and the reason I wanted to do that is to make a new collection for it so I'm going to name this name this Shadow for now I'll place the plane into our shadow collection just to organize some stuff a little bit Yeah so that is our can and the scene now let's go ahead and scale this way up so I'm going to select this empty and just scale that all the way up now this is also probably a good time to go ahead and do some render settings just because it's looking super ugly right now and blender sets up some automatic things we need to go ahead and go to uh cycles and then we're going to go render our GPU I'm going to D noise with optics for my viewport and then on my render I'm going to D noise with open image AI using my GPU right there let's just uh set this down to 512 for now and then this we can set down to 128 these are kind of just the settings I use to for uh speed inside a blender so yeah so we have this right now I'm going to actually go ahead and decrease the size of my empty for my can just so it's a little bit smaller uh but let's go ahead and rotate it 90° on the X and 180° on on the Z and then just place it over here I'm basically just placing where I want the uh kind of bottle to be and everything uh so right here let's come over to the film tab going to change on Mo motion blur and then change transparent on just so I can see this guy also while we're at it we can go ahead and make this camera you can go to background images and I'm going to make it instead of uh the linear color space we're going to do srgb just so it's a little bit uh more like how we actually see uh the footage in the compositing stage so yeah so let's make this a little bit bigger I'll all H to unhide our little plane again and so we'll just make that a little bit bigger and then move that over here and then R double tap Z to rotate like that just so it's uh placed in a kind of cool location something like that looks pretty cool I might even make it a little bit bigger so something like that and then we also need to raise it up again so let's uh raise just our can up like that uh yeah so that is what I want the can to kind of look like let's go ahead and duplicate some of the cans and so in order to do that I'm just going to move this on the Y over here and then if I go ahead and I can duplicate this uh collection so duplicate that and now we have a brand new can right here and so we'll g y move that over here and then we'll are double tap uh Z to kind of give it some random rotation there and we're just going to do the exact same thing so uh right click duplicate collection we going to select the new one uh g y move it until it's kind of over here then R double tab Z we'll make it something cool like that now let's do it one more time I believe I I have four for my final thing so we'll just do it one final time so again super simple just kind of position it however you want over there so yeah so now we have all four of these uh we do need them to be parented together so what I'm going to do is I'm going to select all of the empties uh we only care about the empties because the empties are what is driving the location and so we'll go ahead and select all of those contrl p set parent to object and so now this back empty is basically controlling all of our different uh train assets right there and so yes so that is pretty much it let's uh g y move that over here and let's uh do some quick animation I'm going to hide this plane so at the very start of the footage of course I don't want anything there so I'm going to go ahead and uh click this empty this is where we're going to be adding our key frames to I'm going to go ahead and hit K and then uh a location key frame right there and then we'll go all the way to I don't know like 180 maybe and then uh g y we'll just move it all the way over here until the Red Bull thing is like right here and so that is where I want that we're going to hit K and then uh L for location again uh so now we basically have two key frames and it's going to animate uh to our actual thing and so that is looking pretty good and so yeah that looks pretty good right now you can play around with the animation get whatever you want uh if you want something different and you know have some fun with that uh but that is pretty much the animation we are done with that now we have to worry about lighting and then finally rendering this out as a CG p pass uh so we'll go ahead and go to uh render settings you can see we can't see our background anymore and that's because this entire thing uh is basically just a uh basic white texture so we need to go ahead and deal with some texturing I'm going to switch this view up to Shader editor and then we can go ahead and make a new material I'll just name this footage for now and then we can uh shift a I'll add a image texture basically what I want to do is I want to project uh the footage texture onto our object that we made and so the way I do that is I go ahead and plug this color into the base color and this pink uh means that there's no texture assigned to that right now and so we can go ahead and open up uh we want to open up our image sequence that we made before so right here we can just hit a and open up our exr sequence and then I'm going to select auto Refresh on just so it updates to the current frame whatever frame we're on and then right here we also do need to go ahead and first let's just uh make theor of our Sky Way much just so we can see the actual material we'll play around with Lighting in a little bit uh but you can see that looks super ugly what we actually need to do is let's come up to edit preferences go to add-ons and let's go to node wringler this comes free with a blender so you just need to enable that and then with this add-on what that allows us to do is hold contrl T and we can now do a texture coordinate and mapping node and all we need to do is set this to window instead of UV and so wherever we're going to be seeing this uh and since we're seeing it through the camera it's going to project that to uh the camera's point of view and so that now that that's set up we pretty much have everything I like to change the roughness down a little bit and then also change you specular down uh just so it's not as reflective uh and so we're getting more accurate information there uh also I do want to go ahead and set this instead of repeat you can see we're having some like weird things on the side of our camera I want to set this to mirror just so it's a little bit more uh clean cut uh kind of stuff like that very important for Reflections if that makes sense so yeah so that is all of the texturing done for our scene uh just again getting some of that texture uh for some of our Reflections you can see our bottle is now reflecting some of this yellow and so that's very nice and will give us some more accurate data there and so yeah so we have this now uh we are ready to start talking about lighting so let's uh kind of bring this over here um actually I'm going to turn this back to our 3D viewport just so we can have uh our render view over here and our clean kind of viewport view over here so yeah so that is all of that setup now if we come back to the footage we can see that we have these lights going across the top and so I want to try to recreate that uh let's shift a I'm going to add a light I like using area lights is my personal favorite light setup so we're just going to bring that kind of up top to the ceiling we're going to move it back until it's roughly around the same area there and we also need to affect the shape so I'm going to hit s and then X to scale it down like that and that is roughly around this shape of uh some of these lights up here it's not going to be perfect but I don't really need it to be uh so yeah so we have that light right there let's uh g y move it over here that'll be that light right there uh so yeah so that is that light done we can go ahead and I'm going to hit alt D and to uh make a duplicate the reason I'm doing alt D instead of uh shift d is because now we can actually control all of these lights uh at the same time and you'll see what I mean in a little bit so let's alt D again just uh keep going down the line alt D like that uh alt D just going all the way down to get all of our lights I might also need to move some of these back on the X just a little bit so like there I'm just eyeballing it for this scene it doesn't need to be super precise like that yeah so that is pretty much the uh lighting setup here you can see it's now giving us a little bit of lighting here but it's not enough we do need to push a little bit that is why I uh made instances that's why we did alt D is because now we can come to this lighting panel here we can change up the power and it does it for all of them we don't need to do it for each individual one all of them are going to have the exact same settings and so now we have some more Lighting in our scene which is looking really nice and uh matches really well uh you can also maybe add a few more lights in here we'll go ahead and add in another kind of area light kind of in uh maybe over top here just to kind of make some more ambience in the scene so right here and then this one you can see it's actually reflecting onto the bottle I don't like that I'm going to go ahead and turn multiple Imports off and so it's not uh going to reflect anything it's just going to cast light if that makes sense we're going to go ahead and change that power up a little bit and then also the size I need to increase as well and so yeah so just getting out some of those really really dark areas right here we're still having a little bit of kind of weird dark areas but I think that's to do with the actual footage and so yes that looks uh pretty good we're even getting some of the reflection of our guy in there which is going to be really nice for compositing uh let's go ahead and start setting up some of our compositing uh so you can see we have all these nice collections here we have all of our cans in the can collection we have our shadow and the uh or our plane and the shadow collection and so what I'm going to do is I'm going to go ahead and set this to be a shadow catcher because right now you can actually see we can still see the rendered view of our texture setup uh basically this texture we just want to be our shadows for our scene and so in order to do that we're going to go to object and down to visibility we're going to set the mass to Shadow Catcher And so what that does is now uh in the scene we can only see that it's casting Shadows a little bit like on our back wall and everything like that so that looks pretty good just for the sake of compositing as well I noticed we have a lot of dark areas and so what I'm actually going to do uh for this shot and what I did for my own shot is I'm going to come down to color management and we're going to change the exposure up a little bit so something like that again I just don't want to Crunch all that data I'd rather have that data there and then pull it back a little bit in compositing then not have that data at all and so as you can see now this black area over here is much more lit and so we can have that uh data to actually have uh to you know composite in our scene uh so yeah so that is pretty much it let's go ahead and uh get a render image out just to see if everything is set up so I'm going to come here and then go to render image okay so here you can see we have this result we basically just have our can in here and there is some motion blur uh some quick things I want to see is I want to see if I can take this little thing out I don't know what that is that might be the ceiling uh so if that's the case then that's totally fine uh but we'll definitely have to check out this line and also the motion blur is too much I don't want it to be uh that much and so we'll dial that back a little bit too so first of all motion blur we can just come over here I think I set it to a02 for my final render uh just decreasing the shutter there uh and then right now let's figure out what that line is and so we can come over here and yeah it looks like the ceiling line right there and so honestly I'm not going to really deal with that that's totally fine for me you probably won't even see it in the final render and so that's totally fine uh so yeah so we are done with that we can go ahead and set up our final render settings so we're come over to compositing use nodes uh just make sure your render layers is plugged into the composite I'm going to be doing my compositing in an after effects so we don't have to really do anything right here uh so let's go to to Output you want to of course save a new folder location we are going to be rendering this as a PNG sequence so PNG rgba 15% compression ratio is totally fine and so with all of that set up we are uh ready to render this out so yeah so just set this up to render overnight and then render and animation right there after that is finished rendering you should have a folder that kind of looks like this a bunch of image sequences as PNG files and so we need to go ahead and composite that all together and that is where After Effects comes in okay so with After Effects let's go ahead and I'm going to right click and I'm going to import multiple files and we can go ahead and locate our folders okay so first one let's go ahead and get the footage inside of here so just open exr sequence select there import that in and then we come back out here and next I want to do my CG pass so we'll just do that and then uh that's pretty much it we can hit done there okay so we have this right here now uh one quick thing that we have to make sure is our frame rates match which they don't so we can just rightclick interpret footage go to main I'm going to set this to 25 FPS right there just so they both match and we won't run into any issues there so let's go ahead and make a new composition down here now the color spaces off so we need to go ahead and convert that from linear to srgb so I'm going to come to effect we can go down to color correction and go to color space transform and I'm going to change this first one instead of linear we'll go to srgb right there and now we actually have a the accurate color now blender also works in srgb and so we won't have to do any uh kind of color correction there as well next let's come over to this project tab let's drag our PNG sequence over top of this and then if you do remember we started on frame 10 inside a blender so what I'm going to go ahead and do is I'm going to go to frame 10 down here you can see I'm on frame 10 and then I'm just going to move uh all this over so that the line up again this is to do with our camera tracking and everything and just to make sure everything lines up there uh now I did go ahead and render this out as a 1080p uh thing and so if you did for full 4K for your CGI you can go ahead and leave this but for my sake I'm just going to go ahead and change this to 200% on the scale right there and so yeah so now everything should line up and we have everything uh looking good and accurate uh now first thing I want to tackle is I want to go ahead and get our B uh our guy back in front of our actual thing and so in order to do that I'm just going to go ahead and uh we'll go ahead and copy and paste our layer up here put it above our main layer and let's double click inside of there and I'm actually going to be using a uh tool inside of After Effects called rotor brush I'm going to go ahead and click that and I'm just going to go to the very first frame so we'll go to frame 10 again so like right here right there and then we'll kind of zoom in and I just want to click and draw onto our guy just so we can uh select his outline right there and so that is looking good let's hold alt to kind of get this middle section out and then also his head up here and this one is actually pretty easy to go ahead and uh kind of Roto brush uh it does a pretty good job for this scene so we'll do that and maybe a little bit more on his ear there so that looks good uh you can of course go throughout and you know make sure everything is accurate if you want to you know go forward a little bit it'll go ahead and try to uh you know estimate where he moves and everything I've noticed that it does a pretty good job for this scene so I'm going to go ahead and hit freeze freeze just freezes all of the frames uh so it's locked into place and it doesn't move around or anything so let that kind of render out and uh come back after okay so once that has finished you can exit out of here we want to go back to the main composition and now now that has pretty much done exactly what we want you can see we cut out the guy now it is a little bit of a weird kind of look now so let's style this in a little bit more I'm going to increase the feather ever so slightly so we're going to go to maybe like we'll try like 20 see if that works yeah so that feathers that out a little bit just kind of blurring that edge then I'm also going to reduce the cheddar by 15% and then we can also use motion blur here and so those are the main settings I kind of use uh if you do notice like anything like these black kind of lines if you kind of really zoom in that's where you can maybe uh shift Edge and so we'll shift that in just a tiny bit not too much you don't want to go too much into it because then it'll look weird but yeah so that just kind of cleans that up a little bit that's kind of all I really did and then right here is where we need to start uh color matching uh the bottle and the CGI and everything and so let's go ahead and do that I'm going to come down here we can go up to effect color correction now for this I like to use the curves we'll use curves right here and so overall the gamma is way too bright so we need to darken everything down like that so that's already looking much much better now the blacks are pretty good I think the whites could use a little bit of a decrease so we'll kind of decrease those a little bit right there so these are just the highlights over here uh and then also the saturation is way too much in my opinion so that's where we can come to effect go to color correction again and we can go to uh the Hue saturation node so right here uh we'll place that above our curves because I want to do that before and then the master saturation will just uh kind of tone down a little bit I'm trying to match some of the values back here and so that is already looking much better I do think everything overall is still looking a little bit too bright to me so that's where I'm going to come over here we'll add another color correction to um we'll go to levels right here and then that's where I can mess around with some of these uh more kind of values here so we'll make that a little darker uh the Black Point and stuff will make a little bit lighter just ever so slightly lighter and this darker and so that's matching much better I I can spin all day uh but those are the main kind of effects I use to do color correction like this so that is looking much much better and so yeah so that is pretty much it the final kind of thing I I want to do is maybe do a little bit of color correction now for the funnel shot I actually took this into Da Vinci resolve for my color and everything like that uh but I'm not a great colorist and so I'm just going to do some quick kind of things here to uh kind of introduce some extra color into the entire image and so let's select all of these I'm going to right click and we're going to pre-compose that hit okay and then now we can go ahead and uh do some more effects so we'll come over here this is where I want to go ahead and boost the saturation of the entire scene so I'll just boost all of that and that's looking good and then we'll maybe come and add some contrast and so we'll go to brightness contrast introduce some more contrast in our scene again I'm not I'm not trying to push it too much just some extra kind of uh cool quality of quality of life features there and so yeah so that looks pretty good I'm not going to be worrying about grain or anything for this H process since this is a super easy shot this is just going straight to social media and so you won't really notice any grain or stuff in there and so uh if you are doing this for more of a big screen format then I would highly recommend you deal with the grain the uh actual noise and uh footage grain that you have in the club but for this is totally fine okay so real quickly before I forget we still need to add in our reflection and so let's go back inside of our pre-m I'm going to duplicate our coke uh CG pass and then I can type in over here we can just type in flip and then drag that flip uh asset onto here and that basically just turns it upside down like that and so we have that uh and then next thing I need to do is go ahead and position this so we'll hit P I'll move this down on the Y just so it's like roughly around here uh now the camera tracking is going to be a little bit messed up but uh we should be able to get away with it for this shot uh and then for this all we need to do is we need to go ahead and introduce some of those Reflections back uh just so uh the reflection looks a little bit more realistic so I'm going to duplicate our original uh kind of footage pass we'll put that over top of it and then I want to go ahead and do a new effect we'll come over here I'm just going to type in Luma key we need a Luma key right there place that on here and what we're trying to do here uh is we're we're trying to introduce some kind of breaking up of the reflection and so in order to see that we'll go ahead and do our luminance mat right there and set our track mat uh there if you can't see that you just have to toggle switches and modes by the way uh so now we have that we can go ahead and we'll key out uh some stuff over here so we'll do some of this threshold up so now you can see we're just ever so slightly breaking up I do want to key out the brighter I think though so it's flipped like that and then yeah so something like that is looking much better just so we can actually have some breaking it up right there and then we'll feather that a ton so something like that is looking good and then finally we need to go ahead and change the opacity on this so hit uh I believe T is opacity we can bring that way down right here and that looks much better you can see it's giving us much more accurate results uh one final thing we can also maybe do is uh change some of these values up here I may make the curves way way less so something like that maybe and then the highlights will set back to normal so something like that and so yeah so just kind of introducing some more of the colors back in will make the H saturation way way less so something like that and yeah I believe that's pretty much all I did for my Reflections to my own scene uh to get kind uh some you know interesting reflections of the actual ground we don't want it too too much so I'm actually going to decrease the opacity some more so something like maybe a 5% um so just play around with this get a result that you like but that's how I did my Reflections okay so once we're finally ready for that we can come back out here in our main kind of composition out here we can go to file we want to export that to render que and then in our render section h.264 is totally fine for me going to go ahead and set a new uh folder location so let's save that and go ahead and render the animation okay so here is the final thing that we did from this tutorial now of course I did go back inside of After Effects and spent a couple of hours you know really dialing in everything uh this is really where most of the time comes in inside of a visual effects workflow is really dialing it in in the compositing section uh and then I also took it into D Vinci resolve for a final color pass and so that's where I was really able to match everything and get a more cinematic feeling for the entire shot but anyways hopefully that uh gives you some more information about my own workflow and helps you out with any uh visual effects advertising that you might do in the future uh anyways thanks so much for watching again I have a patreon and a few courses down below if you are interested in joining any of those but thanks for watching and I will catch you in the next video

Channel: Jacob Zirkle

Views: 11,329

Keywords: blender, blender tutorial, vfx, beginner blender tutorial, vfx blender, blender vfx tutorial, blender beginner vfx tutorial, beginner vfx tutorial, blender vfx, vfx in blender tutorial, easy vfx in blender, blender beginner tutorial, blender beginner, blender beginner vfx, geometry tracking, geometry tracking in blender, blender geometry tracking tutorial, geometry tracking vfx, camera tracking, advertisment vfx, blender motion graphics, blender motion graphics tutorial

Id: an9dwGEGd-I

Length: 33min 43sec (2023 seconds)

Published: Tue Jun 11 2024