Original subtitles

In this lesson we're going to learn how to integrate a rotoscoped

piece of footage with another piece of footage.

OK.

So in between lessons I hope that you attempted trying to animate

the rest of this rotoscope we had drawn out and getting it to

follow along with a piece of footage.

It's really great practice to just kind of do this on your own and

figure out some of your personal favorite workflows,

so when it comes time for something you have to rotoscope for a deadline,

you already are ready to do it.

So practice definitely makes perfect with things like this.

And you just really find out your own personal

preferences and workflows for doing it.

There's not a wrong way.

As long as it looks right and it looks the way that want it to look,

it's not necessarily going to be bad.

It's maybe not the most efficient way sometimes the way

that you may choose to do something.

If you have a key on every single frame, it might not be necessary.

But if it works, it just takes practice for you to get faster at it.

So that's definitely to be expected.

And honestly, I have quite a few keys on the fingers and hand over here.

Just because it's moving so quickly, we really needed a lot.

So hopefully yours looks pretty similar to mine.

If it doesn't, you can go ahead and just open up the project file I'm in now,

which is 10_begin.

And now we're ready to bring in the other piece of footage

that we'll be integrating our woman with.

So go ahead and grab your reference files folder,

and we're going to use this background clips PNG sequence.

So just go ahead and grab the folder,

and we can drop it right onto our node graph.

And automatically the viewer is just going to pop over to that.

So I'm going to show you what this looks like,

because it might be a little confusing if we were watching it by itself.

And let's just go ahead and clear our properties bin,

too, so we don't see the roto.

So basically this background is just a series of three sequences of footage,

and some of them are a little more still than others.

We have a little bug kind of flying by in the background of this one.

The clouds are moving in this one right here, and they're a little bit blurred.

So we kind of have this nice effect that,

once we get our actress on top of this footage,

almost like she's been in three different places,

but she never moves.

She's going to be looking the same like she's been in

one place the whole time waving.

So this is definitely kind of a popular thing you've seen,

and so this is a way that you can recreate this.

So I already have this series of clips I've just put into one sequence.

And then we'll just use a few nodes to get these working together.

So it's actually a pretty simple task once you have the rotoscope created.

All we need to do now is add a merge node.

So let's go ahead and do that now.

I'm just going to come over here to the node graph.

We'll hit Tab, and you can type in "merge,

" and that'll drop on a Merge node for you.

Now because I have the Read node selected,

it automatically put that on my A Pipe.

And this is what I want to use as my background.

So I do not want my background to be on my A Pipe.

I want my foreground to be on my A Pipe.

So I'll disconnect that.

We'll hook this up to the B,

and then you can grab the A Pipe and plug it into your roto.

Now let's go ahead and fix this up a little bit,

just to get our node tree looking proper.

So we'll have the B Pipe going straight down,

and we'll have the A Pipe going straight in from the right.

So that looks a little bit more clean.

We'll move that viewer over.

And pretty much everything looks sort of OK.

But the default operation of the merge as over looks wrong,

because we can still see that background with the fence and

the concrete that she was a originally on.

So what you need to do is come over here to your

operation and change it to matte.

And that's going to give you this really nice clean shape where we

have her cut out from her original background,

and then we see her just on top of these three different backgrounds.

Now, of course,

you may want to go in there and do some color correction if you feel like the

lighting changes a little too drastically from scene to scene,

maybe desaturate her a little bit.

But I love the way that this blurriness really makes it feel like there

was a camera that was shooting this and she was closer to the camera and

all of these elements were further away,

so we get this nice sort of just blurred out

background because it's not as in focus.

So, really, that's all there is to merging foreground with background footage.

Sometimes just that operation can trip you up.

You just need to remember to change that to matte, and you'll be on your way.

So that's pretty much it for this lesson.

In our next lesson,

we want to talk about how to output masks into an

image sequence to use later on.

And this can be really useful if you need something that's going to be a

shape that you can use as an alpha channel and you just want to have that

one piece of footage to use wherever you like.

And you don't have to worry about drawing a rotoscope

again or trying to bring in that part of your nuke script

to your different nuke script.

It's just a little more streamlined sometimes to do it this way.

So we're going to learn how to do that in our next lesson.