We take the black art of object removal and turn it into a well explained, follow along scenario, so that artists will be able to inject more creativity into their shot list and stand above the typical lower budget looking shots found way to often in the industry today. Learn how to remove unwanted objects, reflections, stabilize 3D camera movement and much more. We have included footage shot on Red Camera with Cooke lenses to provide the ultimate challenges for our training lessons.
Start off by taking a look at the raw film footage and its problematic areas. The overview here is to remove the grey control box in the centre of the image and its reflection, one of the train wagons, and add an additional window to the front building.
Discover how to integrate the creation of a clean patch to cover up the control box. Utilize the paint tool to clone the surrounding areas allowing the ability to conceal the box, while learning to project the result onto a plane in 3D space. Using 3D tracking data, match and integrate the patch to the general movement of the shot.
Film footage shot with a freely moving camera can be extremely difficult to work with and stabilize. Everything is shifting; nothing remains stable and there are very limited constant factors. Utilizing simple geometry and a projection camera, learn how to simplify this complex problem and create stabilization of the 3D footage.
Parts of the train wheels were covered by the control box, which was previously removed, creating a problematic issue. The need to identify a quick solution or method to recover the wheels is crucial to continue the project. Painting the wheels in place would be a daunting and tedious task; the best solution is to copy the wheels from an area where they are not covered. The wheels now can appear on the patch before the train arrives and the time offset is the solution.
Learn in detail how the 3D environment can help with rotoscoping. The film footage has been stabilized from the previous work and now being able to exploit that footage, the process of rotoscoping out the train wagon can be conducted on the stabilized shot.
Streamlining the project is crucial and if there is way to use a simple solution for a complicated task, then do it! Painting out the reflection of the control box from the moving train wagons could take uncountable hours. Assuming the removal will not have to be perfect, the best solution would be to map out the shape of the reflection and color it to match the rest of the train, this method proves to be much more efficient.
Using the 3D environment can really be a bonus to any project. Simply lining up images behind one another in 3D space can create convincing parallax effects. The use of simple 3D geometry or FBX meshes can be of even more benefit. Receive a quick overview of how a window with a view into the room could be achieved by utilizing this technique.
The new generation 3D system takes advantage of GPU and Shader pipelines to render final production quality HDRI images with full deep pixel output. The extensive toolset opens up the abilities for complex shaders and procedural materials. Speed. The new GPU renderer is raw power, computational expensive depth of field and motion blurring are a breeze on modern graphic cards. Hours of render are now delivered in fractions of seconds. Importing and exporting of scenes and animation make interoperability with 3D Animation pipelines slick and streamlined. For the first time, Fusion compositing artists can really feed the 3D departments easily via the export of scenes and animation. This by-directional workflow makes the CGI production process smoother and more productive.
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Derk started his career as a graphic designer for vintage merchandising products such as pub signs. Acknowledging his much wider interests, Derk shifted his focus to the study of visual communication in Aachen (Germany) and Birmingham (UK). For the past four years he has delivered creative visual effects solutions for various corporate and independent projects. His expertise lies in the field of motion graphics and compositing. For more information on Derk, please contacted cmiVFX.