[flow_default] Transcription: 016_-_Fusion_Pt3_-_GreenScreen_Overivew_And_Screen_Replace.json

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+{
+  "audio_file": "016_-_Fusion_Pt3_-_GreenScreen_Overivew_And_Screen_Replace.wav",
+  "text": "Alright now we're gonna take a look at how you would green screen something inside of fusion now We don't have footage that you can follow along with I just wanted to kind of go over this really quick because a lot of people ask me how you green screen how that works So I wanted to go over pretty quickly just kind of a workflow for that So here we have some footage shot on a green screen. This is the best case scenario We have a really really nice green screen very very even lighting This won't always be the case in fact this won't usually be the case, but it'll be a nice easy example for us to kind of look at just the general workflow here. Really, all the green screen stuff kind of happens inside of something called the Delta Keyer, which is a node that takes care of green screen things like that. So I'm going to click on media in one and hit shift spacebar and I'll type DEL. That'll bring up Delta Keyer. Now I'll add my Delta Keyer node and here in the inspector, we'll have our background color. I'll grab this eyedropper and click and drag it over to where we have green screen and just let go of it. And that's going to pull a pretty good key. Again, this isn't really typical. Usually if you shoot stuff yourself, you're going to have a lot harder time pulling a key, but this is pretty much how it works as you select that key right there. Now, anytime that you're keying, it's a good idea to look at the alpha channel, which is the transparency. If you export a PNG from Photoshop, anything like that, it's going to have a channel like this embedded that just tells the computer where to make it clear and where to make it opaque. And so you can quickly see that channel just by hitting A on the keyboard. Now, again, this is a really, really nice key. We have nice solid white here, solid black in the background. That won't always be the case. Often quite a bit more work to adjust that, which is probably beyond the scope of this training, honestly. But once you have a good mat, then really you have footage with transparency that you can put over a background So I'll go to my media pool. I happen to have a background here that I'll just drag in from our media pool I could make this the background but this is just a still which is a different size than our timeline So I'm just gonna grab my background node make this our background emerge my picture in front of it I hit one on the keyboard. This will let me resize this really easy. like that. And now we have a pretty decent composite. And you can play around with this to make it look the way that you want. One thing I'd recommend is matching the darkest parts of the foreground and the background. Now this isn't perfect, but generally you want the darkest part of the foreground to be about as dark as the darkest part in the background, just so it looks like these kind of merge together a little easier. A quick way to do that is just to mouse over the darkest part of your foreground, let's say right here in her neck. And I'm going to look down at the very bottom of my interface where it says right here in her neck and I'm gonna look down at the very bottom of my interface where it says right here it will say color it says color R, G and B. Right here we have R is 0.1, G is 0.08, B is 0.05 somewhere in there and so really the darkest part of our image is like 0.03 somewhere in there. Now let's take a look at our background. Let's find the darkest parts here and look down there. Those are 0.06, 0.05, 0.1, 0.09, 0.1. So we'll try and compare those. Another way we can look at that is if we go to the upper right-hand corner of our viewer and click on gain gamma, that's going to bring up gain and gamma controls. Now this isn't to actually color correct our image. This is just the preview. And so what we can do is bring up our gain a lot and we can see if we blow everything out like crazy, we should still see the darkest parts of our foreground and our background about at the same time and move our gamut around and see if they're about right. And it looks like they happen to be about right. Actually, they look pretty good. That's why this composite looks looks decent. Again, you can adjust this a bunch, but that's basically how it works. Green screen and keying and all of that is like its own huge monster that we just don't have time to get into in this training. But if you have something like this stock footage that was obviously shot on a very, very good green screen. You can get some really nice results pretty quick. Now let's take a look at another pretty common compositing task, a screen replacement. I have a new project here and what I'll do is let's go to our work files and I'm going to grab screen replace and screen still and just drag those into the media pool. And I'm going to right click on screen replace and say create new timeline using selected clips and hit create. That's going to make a clip here in our timeline and I'm going to click on fusion. That'll bring it up here in our fusion page. And now what we're going to do is replace this screen so that it looks like there's something on the screen there. Some people will shoot with a green screen, which isn't really necessary unless you have something moving in front of the screen. But there's not really anything moving here. It's just kind of shaking, which is fine. So what I want to do is just go to a frame somewhere in the middle, maybe around frame 65. What I'm looking for is just a frame where things aren't blurry. It just looks nice. We can see the whole screen. Everything's good. And we're going to track this screen and use something called a corner pin, which is basically going to put the corners of our new screen exactly where the corners of our monitor are right here. And we're going to do that using a tracker called the planar tracker. So I'll select our first media in node and I'll hit shift spacebar and type in track. And our second one down is called planar tracker and tracker and hit return. That's going to add a planar tracker node. What this does instead of looking at one point, it will look at a whole bunch of different points and interpret the track that way. So I'll give us a little more screen real estate here and I'm going to draw just kind of a loose shape around our monitor. If you had a dolly or something where the perspective was changing a lot in our shot, you'd probably want to make this shape really tight on the monitor so you didn't see the background moving, but this shot just is kind of a little bit shaky, which is fine to select a little bit of the background that'll actually help our track a little bit. The other thing I want to do is right here in our inspector where it says tracker point, I'm going to click on hybrid point slash area. Now we're pretty much ready to track. The only thing I have to do is select my reference time up here in the inspector, I'll hit set and that sets it to frame 66. That means it's just going to look for things just like it exists in frame 66. And now I'm ready to track. I'm going to go over to my inspector and click this far right button for a track to end. Sometimes it will give you an error and kind of act really weird. If you just go back to your reference frame and maybe step forward a couple of frames that will usually fix it. These interior buttons are a step forward just one frame and then you can track the end and it will usually work just fine. Kind of a little trick there. Same thing, I'm gonna go back to my reference frame and track to beginning and that's gonna track the motion again. So now that we have all these white tick marks across our timeline here, we know that everything is tracked. Now a quick way to check if this track is really good is to go over here to operation mode where it says track and select steady. What that'll do is try and make this screen just completely steady throughout the shot. So you can pretty quickly tell if it's steady or not. Ooh, it looks like it tweaked out right there. But for the most part, it's pretty good. So let's maybe pick right about here. This is where things get crazy around frame 62 or so. Let's go back to track. We might be able to just step through this one frame at a time and fix that. We could also go to before that tweak happens and track it forward a few frames and see if that will help. All right, now let's switch back over to steady and see how it goes. Now we have a really steady track. So a lot of problems can really just be fixed by kind of stepping through and tracking in different directions. But once you have a really steady track like this, your composites going to look really nice. So I'll switch this from steady to corner pin. And this will bring up our little widget here. And what I want to do is put the corners of this little mask, this little shape all the way at the edges of our monitor. So I'll put them generally there and then we'll zoom in and make sure they look really nice. And I'll just control zoom in here and I'll put it kind of inside of this bezel a little bit, which may or may not be realistic, but I think it's probably going to look fine. And we'll just go down to the other end of this, put that inside the bezel to same deal. What we really want to make sure is that the edges of this line up and are parallel to the edges of our monitor. And now we can use this data to transform our replacement screen and put that right on top of everything else. This tracker again works sort of like a merge node. I can grab our screen still and I'll just drag that down into our nodes and I can connect the output of that to our green foreground and there it's merged our screen onto our monitor and if we play this back, we'll see it pretty much sticks to the monitor. Now this obviously looks horrible. The reason for that is because we haven't matched the colors and we also don't have reflections on the screen. This is also probably really way too sharp because look how blurry stuff in this image is when you zoom in and how sharp it is on the screen. So what you often do is grab a blur and drag that onto our screen and one pixel blur might do it. Maybe two pixels, something like that. It shouldn't look crisp and that's already looking better. Now we got to match the blacks to our shot. So let's find the darkest part here in our real footage and we're going to match our fake screen to that too. So let's say maybe over here, a mouse over it, look down in the bottom corner under RGB, it looks like 0.1. That's where we're at 0.1. Let's see if our screen is the same down here. If I mouse over this part, we have 0.06. So that's way too dark. So I need this black to match the darkest blacks in our real footage. So I'm going to select media in two and I'll go up here to our color corrector node, which is the fifth icon over click on that and that's going to add a color corrector and since we're looking for the darkest parts of our image to match this which again in the lower right hand corner is like 0.1 0.15 something like that we're going to go to our color corrector node here and under lift which is the darkest parts of our image we're going to type 0.15 and hit enter what that's going to do is brighten up the darkest parts of our image but we have a problem the color corrector node is I don't I don't know why they build it this way. It's dumb, but basically it tries to color correct like the whole image and not just the thing that you feed into it. So what you have to do is set a setting in the color corrector node so that it actually clips to the edge of our screen instead of just wherever the crap it wants. So I'm going to click on color corrector node and go over to our third icon over in our inspector and click on pre divide slash post multiply and that will clean up the edge right there. And now we have a shot that makes a lot more sense. We should also probably do the same thing for the white point, which we happen to have something really white here. This might not be pure white, but it's at least a starting point. We could look at the reflections here. These are probably a little more white and those are coming in at like 0.8, 0.9 somewhere in there, 0.85. We mouse over this part, it's like 0.8 mouse over this kind of white label like 0.7 so somewhere in there probably 0.8 or so is where we're gonna want our whites to be we're basically setting the brightness of the brightest parts of our Fake image to match the brightest parts of our non fake image and that will make this look really nice so I'll go back to the first icon in our color corrector and this time I'm gonna grab the gain because that is the brightest parts of our image instead of at 1.0 We're going to change this to 0.85. I'll enter and now all we've done is change two numbers and things look a lot better Again, we can kind of preview this by going to the upper right hand corner to these three dots in our inspector Click on gain gamma and if we mess with this everything should pretty much act the same way It shouldn't look really weird like you shouldn't have a much brighter screen if you mess with the gain if you mess with the gamma things shouldn't look crazy it should all act pretty much how you would expect it to act and I can turn off our gain in gamma and now we have a decent composite here let's say we want to make this look even more real we can add reflections back into this which we could fake but if we look at our original footage if I select media in one and hit one on the keyboard over here we have real reflections that are exactly what they should be for that environment. So all we really have to do is put these reflections over this footage. Now, good thing is nodes make this really easy. So let's grab our planar tracker and I'm going to merge something over it. Thing I'm going to merge is our media in one. Now I could grab the output of it and just drag it onto the output here, make a merge node, but things kind of get a little bit hairy when you do that. You have lines under other things and it just is kind of miserable So one way that you can clean that up is by adding an elbow in one of these connections All you have to do is hold down alt and I'll grab the middle of this line and drag it and now I have a little elbow here This really doesn't do anything except for keep you a little bit more organized So maybe I'll just drag this down here and now we know that we're merging our media in over our Plainer tracker The reason we know it's over it is because it's connected to the green which is the foreground you. You can lay this out however you want. This makes sense to me. But now we want to do something to this media in because we don't want to put our entire image over itself because then our composite would be gone. We just want the screen here. We could do another track and track a mask to this screen, but we've already really done that by making our composite earlier. If we grab our planar tracker node, we've already basically made a shape that will go over our image. The problem is that it's already merged with our original footage. So again, we're going to do a fancy thing and break this out. Good news is that's easy. We can click on planar tracker and we'll go up here to inspector. And right now it says merge mode foreground over background. It's basically just doing our merge for us. Instead of that, we're just going to say foreground only. And that's just going to give us our screen that we can later merge over our original footage. So we'll do that in a second. Right now, we're just going to worry about our screen because we know that the comp works and we're going to go back to our merge node for our reflections. Now what we have is our fake screen that's tracked to our footage and then we're merging over our original footage. But what we can do is use this screen that's already animated as a mat to just limit this original footage to just show us the screen only so that we can put our reflections back over our fake screen. What I'll do is just grab the output of this planar tracker, which looks just like our left viewer there. And I'm going to connect it to our blue input for our merge. What that does is use that as a mask. And now we have just our original screen merged over our fake screen. And if we select our merge node and go to our blend, which is again our opacity of our foreground layer, I can move this back and forth and I can blend my reflections into our screen. But I don't want to just blend this partially. I want the brightest parts of this image to lighten up our screen. And so under apply mode, instead of normal, I'm going to click lighten. And that's just going to add a really subtle reflection over our screen. And I can dial in that reflection with our blend nodes. So I don't know something like 0.8 maybe. And now we have our screen with our reflections over it. But if I select media out and hit two, we only have our screen, which isn't what we want. We want that to be over our original footage, which again, I can grab our original footage here in our nodes and I can merge all of this over our original footage. So I'll disconnect this from my media out, grab the output of my merge one and drag it over our original footage, this output here. That'll make a merge node and I can connect the merge node to media out. And there we have our composite with the reflections and all of those things. Great. So let's review our nodes just so we don't get completely confused because things are a little bit crazy here. Let's start with my original footage. Then we have our fake screen, which is being tracked. Maybe I'll hit shift spacebar and add an underlay Double-click out, hold down Alt and select our underlay and hit F2 to rename. I'll call this Fake Screen. I can put that up here. And we can move things around to make a little bit more sense here. Now I can really probably just get rid of my elbow there. Maybe I'll add it on this side. So we have our original footage here and we have our fake screen tracked to our monitor. And then in Merge 1, we're blending in our reflections. Merge 2, we're merging our fake screen and reflections over our original footage like this. And then we're telling Fusion to go ahead and render that. So now because we've matched all of our colors and everything in our composite, when we go over to our color page and we open this up, we should be able to color this and everything will act normally and it should look pretty convincing. And if there's a problem like something like, well, maybe this screen is a little bit too saturated, I can always go back to my Fusion page, select my color corrector here for my screen and just dial down the saturation a little bit. So there we go, there's our comp looking sick and we can color correct this and it still looks nice. So that's pretty much how you would do a screen replacement inside of Fusion.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1026.06
+}