Original subtitles

[Autogenerated] in this clip.

We're continuing our helicopter composite now.

Where we left off is we still need the ads and details here.

So what we're going to do now is we're going to work our way through.

I've already set up a couple of these passes to break them out.

Reflections are often put together using a mode called screen.

So we're going to set up a screen.

We're gonna take the reflection pass.

We're gonna add it onto the existing pass right here.

Now, let's keep our viewer connected to the end result here,

and we'll move this over to the screen so we can see it screened on.

Now there's a couple problems here.

Firstly, our reflections are being added to the whole thing.

That's when the first things we want to do is we want to take our mask in use.

Our friend l Pass are for Nell.

Pass is going to cause mawr reflectivity happen on the edges than on

the surfaces that are perpendicular to the camera.

And what we can do is we can actually put a grade on here and manipulate it.

Moves it further.

Donna, let's select all RGB A.

It will bring this down to about 0.46 that range.

Here we go.

We're gonna just are white point to be about 1718 in that range.

There we go.

And that looks pretty nice.

And we can adjust some of our mid range like this with gamma.

Not too much.

There we go.

So you can see that's made a huge impact on the

overall reflectivity of everything.

By bringing that down now, you notice,

but bringing it down we've almost eliminated the reflections in the windows

and those will have to be handled in a separate area.

So what we might do is bring those back after we add

on the speculator reflections.

So let's have the speculator Let's created, not emerge.

But this time we're going to use plus for speculator ity.

We're going to just kinda plus the specs right on there.

There we go and maybe add a little bit of a blurring over a softness to that.

And let's bring in a color cracked and bring it down a little that

Here we go Now we could find tune it a little bit,

but let's move on.

Let's let's come back to those windows.

Now those windows need a little bit more reflectivity.

So we're gonna add another module down here where we're gonna do a screen again.

Except this time, we're going to bring those reflections in.

But we're going to use a different kind of masking.

So this time we're gonna mask it by our multi pass green.

There we go.

So now we are just seeing those windows.

Now we can also go ahead and weaken, modify with a grade how strong those are,

weaken,

gain them down and changed the highlights slightly and give it a little color.

Really cool.

So now that we've done that, we also need to add in our Roeder's.

So let's do that.

Now let's just and that's gonna be a straight merge.

So we're gonna merge the rotors into their Now we've

got a couple of specialty passes.

We have these UV and we have a depth past.

And what are we going to do with them?

Well, the UV pass is really interesting,

because what that is going to dio is it's going to

allow us to re texture are object.

So I'm going to go over here to an esteem map and we're going to

connect that UV pass up as team map to the UV pass.

And then we're gonna connect this input to something else.

We're gonna create a noise.

So we're gonna input our noise in as a source.

You can see the random noise or fractal noise right here.

But are you ve channels for the S T map?

Remember what colors that we had?

This it was in the Red Channel.

And the green chance we're going to select UV channels are, in fact, are RGB.

You can see red and green, and you can see what it did.

It took the noise and it applied the noise to our

image following the contours of it.

And what we can do with our noise is we can actually

change the size of our noise increase, decrease,

do all sorts of really interesting things with it.

But most importantly, once we have that noise,

we can then apply a color correction to that and use it

to modify our helicopter downstream.

So what we're gonna do is we're gonna go up here.

We're gonna put a color cracked right here, which is after it gets assembled.

this color cracked is gonna brighten it slightly,

but we're gonna use as a mask the results of the S team at

so now it creates a little bit of dirt.

Let's take a look over here and you can see that it's

created this very slight variance.

There's the before and the after, and it makes it a bit more realistic looking.

And now we have one last pastor add in and that is our

depth past gonna bring it way over here.

Our depth.

Now,

the first thing to using the depth pass is we need to kind of fold

it in together and we do that with a copy note.

Some will bring over a copy and we're gonna select that am put and the B input.

We're gonna bring that over.

We're gonna tell it to bring its Alfa, or it's red because it doesn't matter.

It's in our G m B,

and we're going to tell it to put it into the depth depth of Z.

So what we should have now is if we go to depth,

we can see her death pass right there.

And if I go back to RGB now, what I can do is I can actually use CD Focus.

Connect the image up.

Let's look at the results,

conceives his depth channel depth Z and you can see

it's softly blurring our image.

Now, somewhere over here, there's our focal point.

We can move our focal point to our helicopter,

and you can see it's now D focusing the background.

It creates a much more pleasing image.

Awesome.

So, to summarize, I wanted you to understand how we could use a single image.

We can break out the various surrender layers that we need

to create a compelling multi pass composite from a single

image with multiple embedded, channel packed layers.