Composting graphics on a phone

[00:00:00] this is Tony lupoy from Cantina creative

[00:00:00] today we're going to dive into Adobe

[00:00:00] After Effects we're going to talk about

[00:00:00] taking your composits and visual effects

[00:00:00] to the next level let's go here's a

[00:00:00] sample shot that we can use for this

[00:00:00] demo let's go over the steps used to

[00:00:00] create this composite as you can see it

[00:00:00] is a pretty straightforward shot that

[00:00:00] you could complete quickly for your own

[00:00:00] project by following some simple steps

[00:00:00] however ever let's take this opportunity

[00:00:00] to explore Adobe After Effects in more

[00:00:00] depth I plan to use this setup here to

[00:00:00] highlight the capabilities of After

[00:00:00] Effects but to also mock up my workflow

[00:00:00] this is how I want to break down the

[00:00:00] scope of these tasks we want a pass of

[00:00:00] this plate that has been

[00:00:00] degrain I'm thinking for this shot I

[00:00:00] would love to have a pass of this

[00:00:00] without any tracking markers as it is

[00:00:00] pretty simple to track we don't really

[00:00:00] need them but we do now have to paint

[00:00:00] them all out and this will help bring

[00:00:00] back some details I like these in camera

[00:00:00] natural Reflections here let's make a

[00:00:00] note to ensure those are retained let's

[00:00:00] take some Liberties and drop a

[00:00:00] reflection up top here once we have a

[00:00:00] degrain clean plate let's go over a few

[00:00:00] Dill methods I'll will show you how this

[00:00:00] can help bring back details in the comp

[00:00:00] again maybe overkill for this but let's

[00:00:00] just do it I will want to build out a

[00:00:00] grain pass for the monitor Graphics we

[00:00:00] will want to track the shot build a mat

[00:00:00] with a combination of keys and Roto

[00:00:00] shapes composite the graphics into the

[00:00:00] shot then QC the shot against the

[00:00:00] original plate to look for areas we can

[00:00:00] approve on we are working in Adobe After

[00:00:00] Effects version

[00:00:00] 25.1 open color IO will assist us in

[00:00:00] managing our Asus color workflow I'll

[00:00:00] select the latest Asus

[00:00:00] profile a comprehensive profile that

[00:00:00] includes many of the settings I commonly

[00:00:00] use for this tutorial we will be

[00:00:00] compositing our shot in linear

[00:00:00] environment our working color space will

[00:00:00] be Asus CG we've selected this default

[00:00:00] display L that will allow me to view my

[00:00:00] linear Asus CG comp on my srgb monitor

[00:00:00] however if you're working on a show with

[00:00:00] a specific Show color we could turn off

[00:00:00] the default display L and we can toggle

[00:00:00] It To None then we could float a custom

[00:00:00] display L over the footage using an

[00:00:00] adjustment layer these are two methods

[00:00:00] that you can use to view your comps

[00:00:00] under a display light so let's go ahead

[00:00:00] and import our

[00:00:00] footage we know our footage is in Asus

[00:00:00] CG so let's update this for a seamless

[00:00:00] color space environment everything for

[00:00:00] this demo will be an Asus CG we can make

[00:00:00] a new comp I have gotten in the habit of

[00:00:00] ensuring that the first frame of the

[00:00:00] comp matches the first frame of the

[00:00:00] sequence

[00:00:00] okay so this will be our plate comp

[00:00:00] let's incorporate that into our main

[00:00:00] composition returning to our display L

[00:00:00] we can either work with an approved

[00:00:00] specific showl that operates as an

[00:00:00] adjustment layer over the

[00:00:00] composition or we can use Adobe After

[00:00:00] Effects default built-in display L for a

[00:00:00] quick temporary

[00:00:00] display we can duplicate our plate for

[00:00:00] future reference this is Handy to

[00:00:00] compare any frame in the comp to the

[00:00:00] main plate really quickly

[00:00:00] here okay let's tackle the degrain

[00:00:00] process something that we can plan to

[00:00:00] bake

[00:00:00] out my favorite way to degrain is using

[00:00:00] neat

[00:00:00] video reduced noise does a phenomenal

[00:00:00] job of building out a

[00:00:00] profile we can review the results inside

[00:00:00] of neat video or check it out here via

[00:00:00] the blue Channel

[00:00:00] let's update the comp frame range so

[00:00:00] that all the comps and the file frame

[00:00:00] numbers are all synced up we will need

[00:00:00] to render the degrain plate and bring it

[00:00:00] back in bake it out I will render it as

[00:00:00] an openexr file using pis compression we

[00:00:00] need to set up our output to render in

[00:00:00] the correct color space which is AC

[00:00:00] CG generally I bake out my degrain

[00:00:00] because the reduced noise function can

[00:00:00] be computationally heavy

[00:00:00] I will use this degrain plate for

[00:00:00] tracking and painting I might use it

[00:00:00] multiple times in the composition

[00:00:00] avoiding the need to process live noise

[00:00:00] reduction for each frame is something

[00:00:00] that we can

[00:00:00] optimize now let's bring the render back

[00:00:00] in and ensure that we change the default

[00:00:00] import color space from Asus 2065 to

[00:00:00] Asus

[00:00:00] CG let's swap our degrain pass back into

[00:00:00] the comp to replace the live degrain

[00:00:00] process

[00:00:00] not sure if you can see the reduced

[00:00:00] noise over the video here I'm just

[00:00:00] checking to see if it is a on toone swap

[00:00:00] out and double-checking the grain

[00:00:00] structure and looking for any updates

[00:00:00] required okay next we will need to build

[00:00:00] out a Clean Plate the idea behind why we

[00:00:00] would do this and not just leave the

[00:00:00] markers there and cover them up with the

[00:00:00] main Graphics using a clean plate with

[00:00:00] painted out markers provides the

[00:00:00] flexibility to composite the graphics in

[00:00:00] while allowing The Clean Plate to blend

[00:00:00] and mix with this element this technique

[00:00:00] enhances the integration of the monitor

[00:00:00] graphics compared to using fully opaque

[00:00:00] Graphics covering up the markers if we

[00:00:00] can successfully implement this here it

[00:00:00] will enable us to utilize small details

[00:00:00] from the original plate these methods

[00:00:00] can make a significant difference in the

[00:00:00] long run for this demonstration I would

[00:00:00] like to explore a few different

[00:00:00] approaches here we can consider using

[00:00:00] adobe's content aware particularly since

[00:00:00] the top tracking markers are good

[00:00:00] candidates they do not intersect with

[00:00:00] the foreground

[00:00:00] hand let's start by creating a garbage

[00:00:00] mat for the top tracking markers we

[00:00:00] should consider tracking this mat to the

[00:00:00] phone as the tracking data could be

[00:00:00] useful for multiple

[00:00:00] tasks I will create a large tracking

[00:00:00] area with plenty of clean tracks to

[00:00:00] follow here in mocha

[00:00:00] once we track this we can parent it to a

[00:00:00] null object allowing us to use the

[00:00:00] tracking data for any future tasks that

[00:00:00] may arise

[00:00:00] [Music]

[00:00:00] now we can create our splines with

[00:00:00] minimal key

[00:00:00] [Music]

[00:00:00] frames now with content aware we are

[00:00:00] simply going to punch a hole through the

[00:00:00] alpha using a stencil composite

[00:00:00] mode then we can generate a fill pass

[00:00:00] and see what magic comes out of this

[00:00:00] black box

[00:00:00] here regarding the tracking markers at

[00:00:00] the bottom of the screen we notice that

[00:00:00] they intersect with the foreground hand

[00:00:00] content aware may not yield the best

[00:00:00] results in this situation however there

[00:00:00] are areas in the bottom half that are

[00:00:00] free of the hands

[00:00:00] interference we could consider a hybrid

[00:00:00] approach using adobe's content aware to

[00:00:00] remove the markers initially and then

[00:00:00] implementing a manual Roto paint

[00:00:00] workflow once we address the sections

[00:00:00] where the hands overlap with the

[00:00:00] tracking markers

[00:00:00] for this I'm going to create a reference

[00:00:00] frame in

[00:00:00] Photoshop I find the paint tools are

[00:00:00] more Dynamic and the link between the

[00:00:00] two apps is fairly

[00:00:00] seamless I would however always

[00:00:00] recommend reloading your reference frame

[00:00:00] in After Effects to avoid waiting for

[00:00:00] the app to cash

[00:00:00] now let's discuss what to do when the

[00:00:00] hands cross over our tracking markers we

[00:00:00] will need to Roto the hand over the

[00:00:00] patches we create additionally we can

[00:00:00] explore another method that involves

[00:00:00] painting out sections of the tracking

[00:00:00] marker on frames that change

[00:00:00] significantly from one frame to another

[00:00:00] this approach will help us avoid paint

[00:00:00] chatter in this case I believe we can

[00:00:00] successfully implement

[00:00:00] it let me show you a test here where I

[00:00:00] masked out the tracking markers and

[00:00:00] created multiple versions using content

[00:00:00] to Weare as you can see it's important

[00:00:00] to understand different approaches to

[00:00:00] accomplish a single

[00:00:00] [Music]

[00:00:00] task when our fingers cross over the

[00:00:00] tracking markers we can create a freeze

[00:00:00] frame of a clean section of the screen

[00:00:00] to use as a patch however instead of

[00:00:00] making a freeze frame I plan to use a

[00:00:00] section of the live footage as a patch

[00:00:00] this way we can preserve the original

[00:00:00] Rin and subtle lighting changes it's

[00:00:00] just an idea we can experiment with

[00:00:00] here let's create an outer spline that

[00:00:00] remains static to Hive the movement of

[00:00:00] the Mask

[00:00:00] I prefer using Photoshop and their paint

[00:00:00] tools let's paint these couple of frames

[00:00:00] in Photoshop an easy way to switch

[00:00:00] between tasks is by using the content

[00:00:00] aware reference workflow however we

[00:00:00] won't be generating any fill layers we

[00:00:00] will simply use the reference frame

[00:00:00] option to quickly paint individual

[00:00:00] frames instead of relying on after

[00:00:00] effects as paint tools

[00:00:00] [Music]

[00:00:00] we can refine a few edges and paintt out

[00:00:00] any small

[00:00:00] overlaps sometimes you may need to paint

[00:00:00] back motion blur or Optical fallof that

[00:00:00] gets

[00:00:00] compromised now let's go to work on all

[00:00:00] the edges with our paint

[00:00:00] [Music]

[00:00:00] tools the process of finalizing work on

[00:00:00] features can often be quite meticulous I

[00:00:00] hope this provides some insight into

[00:00:00] this process while you can practice

[00:00:00] quickly turning around comps that are

[00:00:00] sufficient it's also beneficial to take

[00:00:00] the time to create a fully refined and

[00:00:00] Polished version after we finish this

[00:00:00] today there may still be rounds of

[00:00:00] revisions as we identify additional

[00:00:00] refinements and incorporate feedback

[00:00:00] what we have here is more of a version

[00:00:00] one

[00:00:00] you know finding the balance between

[00:00:00] Perfection and completion can be

[00:00:00] subjective which requires patience

[00:00:00] experience and the ability to try

[00:00:00] different options as you navigate

[00:00:00] different

[00:00:00] projects and this option we are using

[00:00:00] here reveals some unwanted tracking

[00:00:00] marker edges let's refine this mat and

[00:00:00] improve this

[00:00:00] solution once I have this clean plate in

[00:00:00] good shape we can kick this out as a

[00:00:00] Clean Plate pass I will use multiple

[00:00:00] instances of this and we can optimize

[00:00:00] how much computational effort is

[00:00:00] required by baking This Clean Plate

[00:00:00] out so again let's render this out in

[00:00:00] Asus CG and import it back in and

[00:00:00] interpolate it as Asus

[00:00:00] CG the live comp will still be available

[00:00:00] for

[00:00:00] updates after bringing it back in we can

[00:00:00] do a quick AB comparison this baked out

[00:00:00] plate will be positioned at the top of

[00:00:00] the comp if we need to go back and

[00:00:00] update The Clean Plate we can repeat the

[00:00:00] process to keep things streamlined and

[00:00:00] tidy so as a recap reintroducing This

[00:00:00] Clean Plate will Aid in bringing back

[00:00:00] small details and help seat this graphic

[00:00:00] into the monitor or the phone but to

[00:00:00] make this work we will need to address

[00:00:00] the green screen I can show you a few

[00:00:00] different methods we can explore for

[00:00:00] your own

[00:00:00] projects I am kind of guilty of never

[00:00:00] using spill suppressor as I get mixed

[00:00:00] results but it could work for

[00:00:00] you next let's use the advanced spill

[00:00:00] suppression we are already getting

[00:00:00] better results here we can see this

[00:00:00] method leans into a warm

[00:00:00] Tone If that is desired but this is

[00:00:00] looking much

[00:00:00] better as a third option let's consider

[00:00:00] desaturating the green that falls within

[00:00:00] a certain range we can apply frof curves

[00:00:00] fre

[00:00:00] Loof we can change the saturation based

[00:00:00] on the Hue let's adjust the fall off

[00:00:00] here

[00:00:00] to help the graphics stand out more

[00:00:00] clearly curves can also help reduce the

[00:00:00] screen brightness however it's important

[00:00:00] to be cautious when darkening the screen

[00:00:00] to avoid losing detail on the edges as

[00:00:00] there is a limit to how much you can

[00:00:00] adjust the brightness without affecting

[00:00:00] the overall quality this last method I

[00:00:00] will discuss is less common and requires

[00:00:00] some setup it has been useful for me

[00:00:00] let's go over this together so you can

[00:00:00] try it

[00:00:00] out this will require two copies of your

[00:00:00] footage with an option for a third

[00:00:00] duplicate that can be used at the end to

[00:00:00] darken your screen if desired I'll show

[00:00:00] you that in a

[00:00:00] sec I found that working in log for this

[00:00:00] Dill method allows for the best results

[00:00:00] let's first color transform this comp

[00:00:00] into ay

[00:00:00] log next apply key light and Sample the

[00:00:00] color you want to suppress we can now

[00:00:00] toggle our view to corrected

[00:00:00] Source back in our comp the layer that

[00:00:00] contains key light we change the

[00:00:00] composite mode to color jump out of this

[00:00:00] precom and apply a color transform to

[00:00:00] reverse the log footage back into Asus

[00:00:00] CG you can compare these three methods

[00:00:00] against each other and maybe one day

[00:00:00] this will come in handy for

[00:00:00] [Music]

[00:00:00] you key light does offer some options

[00:00:00] available to tweak the mat that you are

[00:00:00] driving the D spill

[00:00:00] with and if you want to darken the

[00:00:00] screen a little bit you can duplicate

[00:00:00] the key light layer that is in in the

[00:00:00] color mode right now duplicate it now

[00:00:00] change the layer mode from color to

[00:00:00] normal and mix it back in at a low

[00:00:00] opacity so the sampled areas are no

[00:00:00] longer as bright you can pull it down by

[00:00:00] using your

[00:00:00] opacity so now that we've explored these

[00:00:00] different methods of Dill each with

[00:00:00] their own advantages how about we

[00:00:00] precompose them all together in a single

[00:00:00] Dill pre

[00:00:00] which will allow us to blend three

[00:00:00] methods Al together we can use all these

[00:00:00] different methods in combination to come

[00:00:00] up with some desirable hybrid

[00:00:00] result I find that is always helpful to

[00:00:00] have your QC plate available to AB your

[00:00:00] results while you assess your

[00:00:00] composition along the

[00:00:00] [Music]

[00:00:00] way let's explore what approach we can

[00:00:00] take to track this phone mocha can

[00:00:00] handle this level of tracking quite

[00:00:00] easily but I want to highlight two

[00:00:00] important aspects first it's essential

[00:00:00] to understand holdout mats in mocha

[00:00:00] second I want to show you how to refine

[00:00:00] your track in After Effects using

[00:00:00] Expressions which will allow us to

[00:00:00] fine-tune the tracking even

[00:00:00] further first let me show you why we

[00:00:00] need to create holdout mats for mocha

[00:00:00] here's an example of what we should

[00:00:00] avoid in this case the foreground hand

[00:00:00] is not matted out correctly resulting in

[00:00:00] a track that's trying to do a planer

[00:00:00] object track however we have not

[00:00:00] isolated the planer surface of the

[00:00:00] phone now let's create a holdout mat for

[00:00:00] the foreground hand a rough garbage mat

[00:00:00] will suffice for this

[00:00:00] scenario with the garbage mat on top of

[00:00:00] our layer hierarchy we can begin to

[00:00:00] create a plane around the phone itself

[00:00:00] I may possibly add a track around the

[00:00:00] visible markers as well again just make

[00:00:00] sure the garbage mat is over top of this

[00:00:00] tracking

[00:00:00] spline you should have the layers

[00:00:00] visibility on

[00:00:00] also two features that you might find

[00:00:00] useful here are the quick stabilization

[00:00:00] feature and the option to toggle

[00:00:00] overlays on and off these features are

[00:00:00] primarily for reviewing your track here

[00:00:00] in mocha with the stabilization applied

[00:00:00] you'll have a better chance of noticing

[00:00:00] any slips that can be refined this is an

[00:00:00] excellent tool for reviewing your tracks

[00:00:00] here in mocha so let's insert our

[00:00:00] graphic into the shot I have a pre-built

[00:00:00] graphic pre-m that I've already

[00:00:00] animated now let's discuss how to merge

[00:00:00] this with our mocha track

[00:00:00] to do this properly we should place the

[00:00:00] graphic into a pre-m that is scaled to

[00:00:00] the size of the main composition this

[00:00:00] approach is necessary unless we have

[00:00:00] created a reference frame back in mocha

[00:00:00] let's proceed with this method we need

[00:00:00] to ensure that the graphic fits the

[00:00:00] overall size of the composition a

[00:00:00] convenient shortcut for this operation

[00:00:00] is control alt F which does a Fit to

[00:00:00] fill

[00:00:00] [Music]

[00:00:00] to review your track it's helpful to add

[00:00:00] a checkerboard overlay to see how the in

[00:00:00] camera tracking markers align with the

[00:00:00] checkerboard throughout the

[00:00:00] track so far nothing is jumping out at

[00:00:00] me with this track so let's keep going

[00:00:00] it is a good habit to label your comps

[00:00:00] as you work even if you have to go back

[00:00:00] and rename items while we are here I

[00:00:00] know I will want to add a color grade to

[00:00:00] cool the graphics down I'll also be

[00:00:00] adding Optical fall off to mimic the

[00:00:00] depth of field that we see in the shot

[00:00:00] we can Circle back to doing this but I

[00:00:00] wanted to get these empty adjustment

[00:00:00] layers in there for now let's refine the

[00:00:00] corner pin data while we can make small

[00:00:00] adust adjustments in mocha using the

[00:00:00] adjust track feature which is a solid

[00:00:00] approach I want to demonstrate how to

[00:00:00] parent your track to a secondary corner

[00:00:00] pin in After Effects this technique will

[00:00:00] allow you to make additional refinements

[00:00:00] without needing to return to

[00:00:00] mocha so to do this I'm going to apply a

[00:00:00] cc Power Pin and parent it to the

[00:00:00] original corner pin data that mocha

[00:00:00] exported before we parent anything we

[00:00:00] need to reset all the coordinates of the

[00:00:00] secondary corner pin and I can keep that

[00:00:00] effect turned off for now now let's

[00:00:00] match each coordinate each point to its

[00:00:00] corresponding coordinate in the other

[00:00:00] corner pin we have aligned these points

[00:00:00] and we need to make sure that the effect

[00:00:00] is still off so what makes this special

[00:00:00] here is that we're going to Simply add a

[00:00:00] plus value to the end of each line here

[00:00:00] this will instruct the corner pin to

[00:00:00] follow the parent in addition to any

[00:00:00] values I add in this secondary pin this

[00:00:00] method allows us to create effective

[00:00:00] compound refinements we cannot have both

[00:00:00] Corner pins activated at the same time

[00:00:00] so let's turn off this first corner pin

[00:00:00] and then enable our CC corner pin which

[00:00:00] should yield identical results here this

[00:00:00] method allows us to add Uber key frames

[00:00:00] which is extremely helpful when working

[00:00:00] with corner pin data exported from mocha

[00:00:00] as it applies a key frame to every frame

[00:00:00] in your

[00:00:00] timeline I'm exaggerating these new

[00:00:00] coordinates so you can clearly see the

[00:00:00] movement and also note that it does not

[00:00:00] snap back when we go to the next frame

[00:00:00] we have two corner pin coordinates that

[00:00:00] are working together giving us much more

[00:00:00] flexibility with in After Effects to

[00:00:00] refine the mocha corner pin

[00:00:00] results so the next step would be to mat

[00:00:00] out this foreground hand this will also

[00:00:00] allow us to see the track a little

[00:00:00] better once we get this hand matted out

[00:00:00] we've already created a clean plate so

[00:00:00] when we go to key this we will not have

[00:00:00] to deal with tracking markers in the way

[00:00:00] or anything like that let's have the key

[00:00:00] work just the hand but we can go Roto

[00:00:00] the finger and any other details we want

[00:00:00] to use I'm going to do this to avoid

[00:00:00] crunching the key too much and also just

[00:00:00] to show how we can combine two matting

[00:00:00] techniques together you don't always

[00:00:00] have to make it all fit with one key you

[00:00:00] can use additional mats as well so once

[00:00:00] we have a basic key and Roto out all the

[00:00:00] small details I want to encourage you to

[00:00:00] use this key layer as your main mat you

[00:00:00] can now take your D spill pre-m and mat

[00:00:00] that that over so that you ensure there

[00:00:00] is no green spill from your keyed

[00:00:00] footage you separate these two

[00:00:00] operations jumping back into our main

[00:00:00] comp we can adjust the gamma of our

[00:00:00] Graphics when working in linear you can

[00:00:00] interpret your srgb graphics to be srgb

[00:00:00] or preserve RGB in this specific case

[00:00:00] I'm going to adjust them here in comp

[00:00:00] with a gamma adjustment and a quick

[00:00:00] datat before we begin integration let's

[00:00:00] revisit our depth of field looking at

[00:00:00] our plate we can observe the falloff and

[00:00:00] the depth of field that we need to match

[00:00:00] to now let's apply the depth of field

[00:00:00] within our graphic precom the background

[00:00:00] plate serves merely as a guide layer any

[00:00:00] blur plug-in that allows you to use a

[00:00:00] blur map will work perfectly for this I

[00:00:00] can increase this value so that you can

[00:00:00] see the overall blur without any depth

[00:00:00] mat applyed

[00:00:00] now let's create a solid and add a

[00:00:00] gradient to

[00:00:00] it and this is how we'll build out our

[00:00:00] depth

[00:00:00] mat we'll need to pre-m this map and I

[00:00:00] prefer to place it at the bottom of our

[00:00:00] layer stack to just be

[00:00:00] tidy if I increase the value again you

[00:00:00] will see how the ramp is

[00:00:00] functioning let me exaggerate this map

[00:00:00] even further for

[00:00:00] clarity now let's pull this back to a

[00:00:00] more reasonable

[00:00:00] [Music]

[00:00:00] value so when we're keying sometimes you

[00:00:00] are left with needing to rework the

[00:00:00] edges for a shot like this you should

[00:00:00] not need to rely on a key to work the

[00:00:00] inner sides of this phone we can build

[00:00:00] our own mat for the phone edges being

[00:00:00] that is such a basic shape we can use

[00:00:00] the mat the key creates only around the

[00:00:00] hand and we can mat out the remaining

[00:00:00] areas with a

[00:00:00] mask while we are talking about edges

[00:00:00] let's build out an edge mat to darken

[00:00:00] the sides and seat them back

[00:00:00] in we can do this with an inner eroded

[00:00:00] mat from the graphics

[00:00:00] pre-m and mat that against the original

[00:00:00] mat combining these together will give

[00:00:00] us that Outer Edge to help Drive the

[00:00:00] color correction

[00:00:00] we can darken the edges so that they're

[00:00:00] not jumping out at us so

[00:00:00] much and let's soften this mat to take

[00:00:00] away any harsh

[00:00:00] edges we can always go back to our track

[00:00:00] and pull the edges out a few pixels to

[00:00:00] overlap one or two pixels with the outer

[00:00:00] frame we could darken the gray values in

[00:00:00] our background Graphics regarding

[00:00:00] integration if our blacks and Graphics

[00:00:00] appear too Punchy or dense we can revert

[00:00:00] to our reliable Clean Plate by

[00:00:00] overlaying This Clean Plate on top of

[00:00:00] the shot and mixing it back in we're not

[00:00:00] only lifting the blacks but also

[00:00:00] recovering any details in the edges that

[00:00:00] may have been lost during the King

[00:00:00] process this adjustment is subtle but it

[00:00:00] can be beneficial if you want to control

[00:00:00] how much lift over your graphics there

[00:00:00] are this is a great way to just mix it

[00:00:00] all back looking at this I do want to

[00:00:00] refine these edges still rework the key

[00:00:00] a bit and Roto some edges back in I will

[00:00:00] get to that shortly but for now we can

[00:00:00] move along how about we discuss adding

[00:00:00] some reflection to the shot I receive

[00:00:00] this request all the time whether it's

[00:00:00] for a like a matte non-reflective screen

[00:00:00] surface or phone that just doesn't pick

[00:00:00] up any Reflections in camera many people

[00:00:00] like to incorporate a reflective element

[00:00:00] to enhance the feel of the glass here's

[00:00:00] what we can do we can invert the

[00:00:00] tracking data for our reflection element

[00:00:00] so that it has a counter

[00:00:00] movement as if the light is refracting

[00:00:00] at an angle from the phone it's a bit of

[00:00:00] an optical trick but I do encourage you

[00:00:00] to try it out with one of your shots and

[00:00:00] see if it works for you let's use our

[00:00:00] existing mocha track we already did here

[00:00:00] [Music]

[00:00:00] we can grab the transform data rather

[00:00:00] than the corner pin data we can apply

[00:00:00] this data to our

[00:00:00] [Music]

[00:00:00] null I tend to consider this at planer

[00:00:00] Point track so I label it for quick

[00:00:00] reference this

[00:00:00] way we're going to use a still of some

[00:00:00] glass we shot to get some nice bokeh I

[00:00:00] want to mask out an area that has some

[00:00:00] falloff to it I will parent The Anchor

[00:00:00] Point of my reflection to the position

[00:00:00] of the

[00:00:00] track if the position data moves 10

[00:00:00] pixels to the left on the xaxis the

[00:00:00] element will move 10 pixels to the right

[00:00:00] on the xaxis we can position the element

[00:00:00] as needed and adjust its location to our

[00:00:00] preference to better visualize this I

[00:00:00] can add a solid layer to see how it

[00:00:00] interacts with the movement

[00:00:00] [Music]

[00:00:00] now fine tune it to your

[00:00:00] liking remember less is often more

[00:00:00] you'll be able to see and feel the

[00:00:00] effect this is how you can create a

[00:00:00] reflection when necessary it's

[00:00:00] definitely worth trying out so one last

[00:00:00] reflection this is the one that we can

[00:00:00] take from the plate let's grab our Clean

[00:00:00] dilled Plate and we already have a track

[00:00:00] so I can grab that as

[00:00:00] well let's set up a mat to help us

[00:00:00] isolate the reflection of the finger

[00:00:00] over the

[00:00:00] [Music]

[00:00:00] phone we can create a contrast curve to

[00:00:00] try to separate the Reflection from the

[00:00:00] plate

[00:00:00] [Music]

[00:00:00] [Music]

[00:00:00] here we can drop the reflection under

[00:00:00] the foreground

[00:00:00] hand and kill the

[00:00:00] [Music]

[00:00:00] color the extreme contrast curve here in

[00:00:00] a linear workflow will get us into

[00:00:00] negative value vales which we want to

[00:00:00] steer clear of so if we apply some

[00:00:00] levels here we can clamp the values of

[00:00:00] these Reflections to prevent the black

[00:00:00] levels from getting away from us we can

[00:00:00] soften the reflection to avoid any harsh

[00:00:00] noise if

[00:00:00] needed then we can add it back in and

[00:00:00] reduce the intensity of this reflection

[00:00:00] here together we've explored several

[00:00:00] methods and after effects to en enance

[00:00:00] your compositing workflow I hope you

[00:00:00] have found these strategies useful there

[00:00:00] are so many great Tools in After Effects

[00:00:00] to share and I wish you the best of luck

[00:00:00] in your VFX projects this is Tony lupoy

[00:00:00] and happy renders

[00:00:00] [Music]