All language subtitles for 12. Final element integration

in this lesson

we will begin adding some of our final

element integration for Big Fireball

now there are a number of items we do need to hit

but for this specific lesson

we're gonna hit a few

and then we'll continue down the list

so in this lesson

I'm going to begin working on our defocus

which is basically adding some defocus to our fireball

to match the defocus that is happening

at various points throughout the timeline in our shot

I'm also going to focus on our grain

and if we have a little bit of time

we'll hit some of that grid warp

that I mentioned at the beginning of this course

so this first step we're gonna do is

we're gonna hit the defocus

I've basically gone through and made a list of frames

where I feel that the shot will need some defocus added

so for example

if we go to frame 68

and we check it against our plates

if I just go to the plate and view

you're gonna watch from frame 68 to 74

you see how it starts to begin to go out of defocus

so what we're going to do is we are going to add

a defocus node to our actual fireball

and we will work our way back from there

so at this point

I think what we'll do is

we're going to add

right here after this premult

we're going to add that defocus

so add d focus node

drop it in right there

and in fact

what I'm going to do is

I'm actually bring that prim molt back up there

and move this over

since we don't need all that space

since there's no more color corrects

happening at the moment

and what we'll do is

on frame 68

I'm going to set the d focus to zero

and I'm going to set the key

and then we will view our frame

our viewer with the fireball

and we're going to jump forward to frame 74

and at that point

you can see right here

our fireball is definitely a little too uh

obviously in focus in comparison to everything else

so let's just add a little bit of defocus here

begin to kinda blow that out just a little bit

and I think also what we're going to need to do is

we're gonna need to take that defocus

and we're going to need to uh

add it to our holdout mat

that is occurring here

you see see

getting solid lines on the roto shape

so what we'll do is we'll actually just clone this

so for the sake of this

I'm gonna right click

go to edit and copy as can as clones

you can see also control K as your shortcut

and then once you copy this clones

you can control V paste

and just drop that in there

and now you see how your roto shape just matches that

nice little edge that you're adding

in terms of animating a d focus

so now we have that frame 74

I'm gonna now jump to frame eighty

and frame 80

I'm going to keyframe again

and there we go

so set key and then we are going to jump to frame 85

and just clear this out right here

there we go

now we can see the keyframes happening

and I'm going to set d focus to zero

so now you can see at this point

obviously we don't wanna add any d focus happening

so now let's move on to our next set

and I and as I said

I just added a

made a list of these frames

that we need to add the focus to

so it's gonna be a few

that we're gonna be working through

so frame 92

gonna set key to zero

and frame 99

jump to that

you can see this is all defocused here

so we wanna add some defoc

some nice to focus on a say

value of 5 there is not too bad

and then frame 1:02 is the

the beginning

the outpoint

so add a keyframe there

and then frame 1:08 is when it's back in focus

so let's set that back to zero

and then we continue on

so now we're gonna jump over to frame three twenty nine

and down just a little bit

so we can see the buildings in relation to the fireball

set a key and then at frame three thirty four

we're going to add some defocus

and again this goes back to what I said

this is all part of analyzing your shot

so you're just analyzing it

to ensure that you match it back to the uh

overall image

and this isn't gonna require much default

so I'm just gonna set that to a factor of one

and then set that to 3:36

and that actually looks like it might be a touch more

so let's add a little more

there we go

and then at frame three 40

that's our out

set that back to zero

and then ironically enough at 3:41

we set another key

and three frame

3:43 and again

this is all kind of a tedious kind of process sometimes

but it is obviously necessary

when you're trying to integrate your shot

you want it to match back to your actual plate

and if you don't

obviously then if you watch this in sequence

it might not look quite as spectacular as you'd hoped

just because things aren't properly integrated

the best visual effects are the ones

that do not look like they were visual effect

and obviously

blowing up of city is a visual effect

that will be pretty obvious

probably wasn't real at one point

but it is something you want it to

get as close to possible

allowing the viewer to suspend disbelief

so just continuing on through this list here

frame 3:00 60

three and Onward again

this is all stuff that you can follow along

you can also do your own hunt

it's quite possible that I have missed uh

some of those spots that require some uh

some animated defocus

but for the sake of this course

I'm not gonna

not gonna worry about that

I just wanna hit some of these major ones

alright we have just a few more

on frame 4:00 76

now I move back down just a view

set a key at 0

frame 494 animates into a nice

pretty major defocus

so let's let's jump that defocus up there

maybe somewhere around there

let's say and

oop apologies

there we go

and then frame four ninety four to 5:02 animates out

so set that to zero

and then at 5:03 we have another

change so then go to 5:08

let's set that defocus

there we go

and as also the other thing you can see

the next step we're gonna do is we're gonna add grain

obviously because right now it's very soft

and there's no grain on there

which obviously makes it one another step of

uh disbelief

and you obviously want to integrate as best as possible

grain is a necessity

no matter what shot you're working on

you're gonna want to add grain

to match back to your plate

so that's basically one of the major rules

before you finish your shot

you're gonna wanna add grain anyway

uh so just adding a little more defocus here

there we go

and almost done

just have a couple more keyframes

we need to input this frame 6 83 now

there we go

move up to find

there we go

add that key frame frame six 88

oops game 6 88

there we go

def add the defocus

let's say maybe around

there we go

and six 91 is when it starts to

when it's locked and then starts to push out

is six 95 here we go

and last but not least

and this is the other area we're gonna have

that we're gonna focus on next

once we do these final element integration steps

but we're gonna have to remember that our fireball is

not gonna track once this railing goes over

so we're gonna have to work on that next

but for the moment

let's just add these last couple keys from 7:31

I want you to be defocused

there we go

a little more

that's good

alright so at this point

I think what we've done is

is pretty satisfactory

we've added our various animated d

focus in various areas that we needed to

the next step will be adding grain

I think what we'll do is add that right now

so we are going to add grain

right about

let's just make a little space here

right in here

and there's a few different ways you can add grain

you can do uh

grain analysis if you have Nuke X you can

you can add

you can I match

in this case

what I'm gonna do is

I'm just gonna do a little eye matching

um I've I've

believe I've discussed how did grain match before

in the past with uh

with Nuke X

but for this course

I think we're just gonna

do a little bit of eye matching it

sometimes it's good to

good to do to practice that

uh oops apologies

this is on the wrong layer

let's bring that up there

there we go

and obviously that way too much grain haha

so you're gonna jump between your channels

and you're gonna start to

to dial things in

so let's uh

just bring up the scale of our grain

and the blue channel

I'm gonna bring back the intensity

that is way too much uh

we just wanna start to dial it in a little bit

there we go

and then let's switch over to the green channel

green channel size is

could go a little bigger possibly

and then we're gonna back way off on it

and right about somewhere in there

let's do the red channel

um size can be somewhere around there point four

let's just leave it as that

and back off

significantly as well

alright so let's call that a reasonably close match

actually you know what

looking at it

let's just bring that down just a little bit

and bring the scale down a little bit on this one

now that you're looking

the buildings

the buildings are a better

closer match to uh

to work with

oh apologies

computer locked up from over there

all right so let's uh

let's call that a reasonably close match

for the time being

and at this point

I think we should take a quick break to recap

we have discussed adding defocus

animated defocus

to match back to our background plate

we've also imatched some grain in there

and at this point

we're gonna take a quick break

and we'll come back and discuss

a little bit of grid warp on

of our actual fireball