All language subtitles for 13. Creating building contact shadows

in this lesson

we will continue integrating our 3D and live action

elements together to create a final

rendered scene

the part we're going to work on at this point

is the base of the building

in relation to integrating it further

with the mountain that it's sitting on

I feel like it's

it's just a little bit too contrasty between the two

mainly because the live action element is just a little

bit too bright in some of those highlights

so what we're gonna do

is go in and start darkening down those areas

so my idea for that is

we're going to go back up here to the live action plate

and we're going to work specifically in that area

I'm gonna take all these extra elements

and we're just gonna move them off the side

they aren't actually needed anymore

so what we're gonna do is just delete them

so let's take these elements

slide it up just a little bit

give ourselves some space to work

and then we're going to move that

the background plate over

and I'm going to just drop that down

so we have a little bit of area to work

okay so I think what we're going to do is

we're going to utilize

we're gonna actually use a procedural way

of creating our

our sort of a shadowy area

based upon using our building as a traveling map

so I'm going to find the building

that's this

I'm gonna follow it down to right here

and I'm going to hit the tab key

and start typing shuffle

and we've created a shuffle note

I'm going to connect that into the scan line render

and what I'm going to do is

say that I want all four channels to be alpha

so red green

blue and alpha

are going to be getting their color information

from just the original alpha channel

so if we view at that point

you're going to see

there's our buildings

alpha channel

the point of that is

it's going to follow the actual movement

of the camera shot

without us having to create another row shape

we are going to have to create a row shape

to constrain it

but that's something we'll deal with in just a moment

so I'm bringing that down here

and just because I don't like bunches of connections

falling all over the place

let's just make it a little cleaner

there we go

and bring that shuffle over

and I'm going to put a transform after that shuffle

and actually move all this up just a little bit

myself some room

there we go

and then what we're going to do is

add a blur node

and then the blur nodes

the B key on the keyboard

if you don't want to hit tab

and start typing in blur

and then I'm going to add a grade node

grade node in this case

a grade node

or color correct

will work for what we're going to do

in fact actually no I am I

I'm going to use a

color corrects

we might actually need a few more

of the color correction tools

in the shadows and the midtones

so connect that in like that

and then connect the mask input

and then you're ready to go

so what we're going to do is

we wanna transform down that alpha

that alpha channel a little bit

so if we view right here

I'm going to shift it down

uh let's say

a negative 10 pixels

that's still not enough

you have to keep in mind

we are working at 4K

so we're working at a higher amount of

we're gonna have to shift things further

than what you might be used to shifting

when working in an HD

environment

so let's uh

shift that down 30 pixels

and then adding a blur

of maybe 10

actually would help

if we viewed

there right

let's go a little further

let's blur that

to a factor of 30 as well

that's probably good enough

for the moment

now I'm going to view our final view

and then the correct color correct

just to see if anything happens

you see oh look at that

now we have a

we have a nice drop shadow across the whole thing

which obviously

isn't what we're going for

but at least we know something's there

now what I want to do is

I'm going to isolate

at the base so

so how are we going to do that

we would just

basically need to create a quick row shape

to be able to control that

at the moment

I'm just going to do it

for just this frame

uh we will we will

uh animate it

for the entire uh

frame range

in just a moment

but at the moment

I just wanna

just get a quick

something in there

so that then

we can continue working on this part

set our merge to in

so that your alpha

channel's going in there

b's there and that's gonna hold it

inside there

so now you can see

the end result

so we go back here

now our color correct

is ready to go

so we can gain down a little bit

you can see

basically we don't wanna do the drop shadow

so what I'm thinking is

we go down to the mid times

this is why I ended up using the color correct

I was originally thinking

just master

uh gain and

maybe a little bit of gamma

possibly but

the reality is

I think we're gonna do better if we

stick to the mid tone area

so we can dumb down

you can see

how we're dumbing down

some of those highlight areas

and there's nothing

really in the

in the highlights tab

but the midtones

are definitely

being affected by that and

that's way too much

cause we don't wanna make it look like it's floating

whole point is just to try to bring down all that

that area and what I'm gonna do is

I'm actually gonna drop that down a little more

so let's uh

let's go for 75

you know what

I almost wanna say a little further is not a bad thing

um we can set up a little bit more of a fall off there

and at the end of the day

it's not bad to

push this just a little bit more possibly

yeah that's not bad

okay so you can see

basically what's happened

is we've darkened some of those highlights

now I look at it

and I don't know if I'm convinced

that I want all of the highlights on the screen

right here to the screen

right side of the building

to disappear

I I I'm kind of partial to some of these highlights

cause the more I look at

you see like

this nice little edge highlight on the building

you know it kind of balances out

so I think what we're going to do is

take that photo shape

and I'm going to actually delete this point

so highlight that point hit delete

then I'm gonna take these points

and this is also wide

an animated X

I wanted to make sure I was

was comfortable and happy with what's happening here

in the result

so I'm gonna actually select those two points

and create a fall off

so you hit that e key

once you hit

selected the points to expand it out

there you go

and just gonna bring that over to

closer to this side of the building

in fact we just delete that point to

there we go

um and I'm just curious

you know that's not gonna do anything

obviously uh

if we expand or fall off there

so it's it's gonna affect a little bit on that side

but it's not gonna completely go all the way

in comparison to the left screen

left side of the building

I think that feels a little more properly seated

just to allow for it to kinda kill that

that highlight right there just a little more but

still maintain some of those nice highlights over here

to a certain extent it's not

it's not uh

fully highlighted but we're

we're able to actually

just gonna back off a little bit

there we go

and now at this point

we're gonna take that row shape

and now we either

we need to choose how we're gonna do the row shape

we can either create a track for the row shape

or we can just quickly animated ourselves

in this case

let's just go every 50 frames and see if we can

keep it at approximately that same location

that's really all that matters

is keeping it in a

in a rough position for what we're wanting it to do

there we go

so back to 98

jump forward

you can set increments

if you're not aware

you can set frame increments

and then you can jump

instead of using the next increment

or the increment keys

you can use shift left or shift right

it just makes it a little easier

then you're not having to waste time

jumping back and forth with your mouse

so there we go

alright so I think we should be fine

to work with something like that

it's just a rough roto shape

if you felt so inclined to

need to come back and fix that

and make it a little more accurate

then you can go ahead

I think in this case though

we're we're just

we're totally fine to continue as as is

so at this point

we've kind of worked in integrating that base

right there

the building

I think that actually looks a lot better

you can see how

just by bringing down some of those highlights

it starts to allow it to seat just a little better

now as I've looked at this

there's one more thing that I want to do and that's

I think I wanna go back and revisit some of the fog it

it just still doesn't seem quite right for me

so let's just go down here to our fog layer

and instead of using that roto shape

I think what I'm gonna do is

I'm actually going to create a whole

entirely new roto shape

and we're just gonna I'm gonna

I'm literally going to create a rectangular shape

such as this

and then I'm going to

this is bring it down a little bit here

and then I'm gonna expand that

so that we have fall off

and I'm actually going to

try and see if just something like this uh

feels a little better

in my opinion

than using the procedural way that we were doing

with that rotate

so instead of using that

transformers gonna

connect it right there

and of course

our roto isn't set to RGBI

so we needed to do that

now if we just go back to you

and kind of see the change

it shifts it adds a little bit more over there

which I actually like

it was kind of

what I was bothering me

was the top part of that hill

just felt like it wasn't quite

seated properly

in relation to the building

so let's bring that up

I'm gonna actually back off on that blur

I'm gonna set it to 500

and let's see how that looks

if we just full scale it

I think that that feels a little bit better

uh it's not

it's not quite so

so hidden away

um but that said

it's all a matter of perspective

really I mean

it's such an arbitrary thing at this point

unless you specifically

like I said

unless you have studio dictating what you're doing

uh this is all up to personal taste and personal like

so we're just gonna set that up there

and the whole point is

then you need to animate that roto potentially let's

let's just take a look here

let's go full screen

and that will allow us to determine if we

like what we're seeing or not

so there's a little more fog up above

I think that

that feels a little better

okay so at this point

let's take a quick break

and we'll come back

and we'll finish up our final integration

so to do do a quick recap

we discussed

the integration of the base of the building

as well as the

uh additional changes to some of our fog layer

and when we get back

we'll continue working on the final touches