Original subtitles

In this clip we're going to take a look at how we can take our shot to final.

And that is by really refining the final composite.

Now in our last clip, we had some issues with the alpha,

particularly in the reflection of the glass.

And we have since revised that so now we can focus on things such as light wrap,

and small integration details and that really helps us to

refine the shot and take it to final.

So let's take a look at our script.

So we start by looking at where we left off and that was the Keylight.

And if I zoom into my background,

I can notice that we can probably use a bit of defocus in that background.

And that is to draw the attention to our foreground character.

So hit tab and defocus.

And clip that in there and that's a little bit much to start,

so let's bring it down to.

25.

Give or take and again,

just enough to add a little bit of defocus to the background

and bring more attention to our character.

Next we're going to take a look at the light wrap.

So what exactly is a light wrap?

Well,

light wrap is used to simulate the ambient light that is supposedly

casting light onto your subject in the scene.

Light from the background image that is brighter than the foreground

image is wrapped around the foreground image's edges.

This helps to soften the edges of the foreground image and therefore helps

to integrate the two images more seamlessly together.

So if I can take a look at a visual before we begin,

let's take a look at what that looks like.

So here is my background image, my default,

my foreground image and what the light wrap is by itself.

Now this light wrap placed onto this image,

this image is placed on top of the background image

and we have our final composite.

Now the reason for this is we want to take the lighter areas of our

background image and wrap them around the front.

Because that's how light acts.

So we're going to try to recreate that in our comp.

So let's take a look at our script.

So back to our image.

So here's our Keylight.

So foreground over background and we're going to hook up

the B input to the background image.

So up here, so to our defoused image.

Add an elbow, so control click.

And up there.

And the A input to my Keylight and we should be able to see a light wrap.

We're not really seeing a light wrap are we?

So let's see what happens with that there.

So do we have the right ones?

Yes, A to the alpha, B to the background, well there is no alpha is there?

Let's take a look at that Keylight.

We're not producing an alpha.

So we're going to go back up to our defocus and add a shuffle.

And what's happened is that it has added all of that

alpha together from the background, so if we shuffle in a black alpha,

so here we're going to go.

So shuffle, add black into my alpha, there we go.

It's going to keep the proper alpha and pump it through

so I can access it in my light wrap.

So let's take a look at my light wrap.

Full color and it's not quite working for us yet.

We're going to generate that wrap only,

so by default it's going to put it overtop and increase the intensity.

So now it's working.

The only problem is that we have some very,

very small holes in our alpha, so go back to our Keylight.

We're going to go back down to the Clip White.

And just dial it down until, there we go.

Just the edges are being affected.

So back to my light wrap and I want to have the

initial light wrap to be pretty tight.

So I'm going to bring down the diffuse.

So not too tight, we just want it soft.

And it's going to wrap around the foreground of my character.

So I'm going to add a plus with the merge.

So A into the light wrap, B into my Keylight.

Let's just clean this up a little bit there.

There we go, light wrap, merge plus.

Add a plus, put it overtop of my image.

Now by default this looks pretty silly, right?

It's not quite working here.

So a couple of reasons for that.

So let's shuffle in a solid alpha into here.

So solid alpha.

It's not doing a whole lot here, but the plus is looking a little bit ridiculous.

So here we go, so here's my solid alpha in my plate.

Maybe that shuffle isn't necessary, but it doesn't hurt.

And then I'm going to have the plus overtop and dial it way, way, way, way down.

So let's just dial that down.

We're going to turn down the intensity, that's a little bit better.

And perhaps turn down the blend or the mix on the merge as well.

So let's just toggle that on and off.

So again, it's a little bit intense.

It looks like we're eroding away at those edges, which we don't want.

So let's bring down the mix just a little bit.

On and off.

That's moreso what we're looking for.

So notice how it's only visible on the lighter portions of the background.

So that's actually exactly what we're looking for.

So now let's add a second light wrap.

So let's just tidy this up really quickly in here.

I'm going to add an elbow, so here is my elbow,

hook it up to my light wrap and bring it up here so that I can attach

the A input for this guy and kind of borrow it.

There we go.

In here, add a dot.

Hook that up.

Show our light wrap.

Remember we need to generate wrap only, increase that intensity.

And this one's going to be a lot softer.

So we do want a softer fall off.

This isn't mandatory, it is optional.

But sometimes it adds a nicer second falloff.

Of course we're going to do another plus overtop,

so there we go, a plus overtop.

Tidy this up just a tad.

And plus it overtop and again, dial it way down.

So make sure it's very subtle.

So less is more in this case, but that's looking pretty good.

We can dial it back a little bit after.

It might be still a little bit intense.

So bring it down just a little bit more,. 2 perhaps.

And let's move onto the next step.

So our composite is looking pretty good.

We have some nice light wrap, we've defocused the background.

Small, small changes make a big difference.

And now we can do a white balance on this overall shot.

So it isn't mandatory by any meals, this is optional.

So hook up a grade tool, same as we did in previous clips.

So we're going to select the white point and I'm going to sample the foreground.

There we go.

We're going to revise our luminance.

So once again, before and after.

Take a look up on top of the view port so we can compare the two.

Y for luminance, bring this back down.

There we go, AA for full color, get rid of the wipe.

And we're looking pretty good.

So this is pretty good overall.

I'm liking what we're seeing here.

The last thing that we will want to do is reintroduce the noise.

And remember that we have no noise in our image and noise can be reduced by

the denoise and even by a little bit of a color correction,

so the more aggressive we are with changes to the plate,

the more that we can lose that detail.

So we're going to look at one option to add that noise back.

We're going to go over here and we're going to borrow

that original denoise that we've done, but change some of the settings.

So hook it up to your original image.

We're going to bring it way down to the end of our comp over here.

Add a nice elbow, so it's not so messy.

And bring this down so we can work with it.

So inside the denoise, enable it.

And by default it is on output results.

If I took at look at this, it's going to denoise my image.

However I don't want output results, I want output noise,

which is exactly what we're looking for.

So let's just go up here.

And there's the noise that we want to add back into our image,

which is exactly what we're looking for.

So deselect the red dot.

Once again, we're going to plus this overtop of our image so let's just plus it,

merge.

And plus and plus it overtop.

Now there is one thing that we're missing.

And if you remember,

that was over here where we reformatted our pre-processed

image so that means it's actually smaller.

So if I look at this, this is 1920.

This image was 1280, so I'm going to borrow this reformat tool.

And plug it into the denoise.

So paste down here.

And plus it overtop.

So back to full color, back to my regular LUT.

And we have some really nice subtle grain on top of there,

or noise rather, so before and after, there we go.

Let's just see what's going on here.

So there's my noise.

Really, really subtle.

Very small.

Reformat and plus it overtop.

So let's just turn that down, blue channel and on and off.

So now we've reintroduced that noise back into our plate and in fact,

it's also in my background image, where it wasn't before.

So there's my blue channel, on and off.

Now one thing to be mindful of when you add that grain in this way is that there

was the original unevenness from the original green screen,

so you can see it a little bit in here.

Now it's pretty subtle in this image,

so this workflow will definitely work for this particular example,

but if you have every uneven green screens,

you may want to look into alternative methods for

re-graining or adding noise back to your image.

So that's it for that.

Now, there was one last thing again, optional, that you could add.

So I will show you,

we did talk about color correcting this little funny thing in here.

So if you do want to do that, follow along.

If not, it's looking pretty good as is, as far as a final composite.

But let's take a look at, very quickly, how we can correct this.

So we are going to go to the image over here.

And we're going to pull a key.

So let's pull another key, so Keylight.

I'm going to attach it to the source and bring it way over here to the side.

I could have copy pasted it as well.

It would have been a little bit heavier of a script.

So we'll bring that up to Keylight there.

And I'm going to pull a key specifically where this is located.

So I'm trying to isolate where this reflection is.

Click this, nice and close in there.

So there we go.

Deselect and take a look at our alpha.

So there is my alpha, but I want the inverse of this.

I actually want to isolate this.

So I'm going to add an invert and there we go,

but now it's going to show me the whole outside,

but I do have a garbage matte for that, remember?

So let's go back and borrow that from here.

Paste and reuse tools, less work.

So over here we're going to add a merge with a mask so that we can isolate it.

So a mask operator, that is isolated,

we can now use this alpha to color correct my image.

So here is my rgb.

Again, add that grade tool in here.

Plug in the mask input to the alpha mask that I just

created and I can start to dial these back.

So I want to add a little bit of red and a little bit of blue,

so let's just increase them.

Like that, that's looking pretty good.

A little bit better, maybe a little bit more blue.

Not too much purple.

So we're starting to get it closer in there.

So we just want a little bit more color than what it had before.

It wasn't looking so great, it was pretty neutral gray.

So it's a little bit bright, I'm going to be honest with you.

I do have a refined one down here,

so let's take a look at this down here and kind of cheat.

So it looks like I have worked with the gamma,

let's borrow this one from down here.

Back up into our shot.

And that's looking a lot better.

So let me just see what we did here.

I'm going to get rid of this panel, we'll go back to the defaults.

So it looks like I changed all three of them.

You can leave the alpha at zero, not a big deal.

But we have a nice, refined reflection now.

So let's take a look at what our final composite looks like.

I have letterboxed it.

And just cropped into it a little bit more.

But we have a pretty good overall shot for us to work with.

Some nice detail in the motion blur.

The alpha is working overall and it matches pretty good with the background.

So that is an overview of how to composite a shot with a green screen image.