Sci-FI VFX Tutorials

by kesakalaonu on December 2, 2015

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With the upcoming release of Star Wars the Force Awakens, and the premiere of the recent Star Trek films, there have been many visual effects that filmmakers have looked to replicate to bring to their productions. This can be anything from heads up displays, 3D spaceships, weapons, and much more. Looking at these effects as they are, it would be a daunting task to replicate them without prior knowledge. However, using a tool like After Effects can bring your imagination to life by watching the right tutorials. Below, I will highlight a few tutorials based on science fiction visual effects that you can bring to your video projects.

Lightsaber Tutorial

In this tutorial from VideoCoPilot, Andrew Kramer shows us how to use his lightsaber preset which he created using the beam effect along with other filters and expressions. This preset has all the functions you would need to create the perfect lightsaber effect without having to use a solid layer with a mask. This preset also reacts to composition motion blur to create realistic motion. Using an obscure layer as a matte, you can place the lightsaber beam behind your talent when their motion calls for it.

I recently used this preset on a set of commercials and it still holds up eight years after it was initially released. I found it easier to use and manage over a plugin like Saber Blade from Fan Film FX. You can download the preset here and use it on your next Star Wars fan film.

Transporter Tutorial

In this tutorial from SternFX and Red Giant TV, Eran Stern breaks down how to create this infamous Star Trek teleportation effect using Trapcode Particular. Using the path from a circle math, Eran creates a circular motion for the point light which influences the motion path for Particular. Next, he parents the light to a null object so that he can influence the motion even further. With Particular applied to a solid layer and the settings manipulated to emit a solid stream of particles, the transporter effect begins to take shape. Once he has the effect created with Particular, he precomposes it and duplicates it to manipulate other iterations. With a lens flare from Knoll Light Factory and a few animation keyframes, he completes the overall animation necessary to apply to it to his subject.

In a separate composition, he brings the transporter effect and talent to the forefront. Using warping filters and masks, he completes the effect with ease. What I like about this tutorial is the attention to detail that Eran brings to this effect. I’ve seen this effect achieved using particle images from Particle Illusion, which is passable to the common viewer, but this version of the effect really has the Hollywood finish to it. Although it is a dated tutorial, I find it still holds up after all these years.

Hologram Tutorial

This tutorial from PixelBump shows us how to create a Star Wars themed hologram using green screen compositing. He creates three compositions with his keyed talent and changes their colors accordingly using the Levels effect. With the addition of the wiggle expression to create jerky motion, he crafts the colorization needed to create the hologram along with the Venetian Blinds filter. With a combo of offset matte layers and glow filters, he is able to complete Star Wars-esque hologram.

This effect was achieved using native filters and techniques that exist inside of After Effects which makes it accessible to everyone. I recently had to do a hologram effect for a group of spots and I went the third party route using Holomatrix to create the effect. It is always useful to know how to create visual effects when you don’t have access to to third party tools.

These are just three science fiction effects-based tutorials you can use on your next video projects. Try these out and experiment to create something unique.

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After Effects Add-Ons

by kesakalaonu on September 23, 2015

after effects cs51 300x296 After Effects Add Ons

Being one of the longest industry standard post production applications in the world, you would think After Effects would have every function to make your life as an artist easier. With the ability to create vector shapes, rotoscope, track in 2D/3D, and more, it is a pretty comprehensive application. However, on its own it can only do so much. That is why there is a community of developers who have created add-ons for After Effects to make the user experience more bearable than before. These add-ons can make animating multiple layers more efficient, the creation of a folder structure at the project, and other features. I’m going to highlight three of these add-ons.

Mister Horse Previewer

 

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This After Effects plugin is something that should have been in the program from the get go. With this plugin, you can view imported footage, images, and music in a separate panel and see the first frame of compositions. I can’t count how many times I wish I could quickly preview an asset without having to go through much hassle. Ever since I purchased this plugin, I feel more at ease when importing assets into After Effects knowing I can see them on their own without having to open the layer panel view them. You can purchase this plugin for $21 at Videohive.

True Comp Duplicator

 

truecompduplicator lg 410x164 After Effects Add Ons

This is a script I’ve been using for the last two years and it has been an invaluable asset to my workflow. If you are a heavy After Effects user, you will know how much of a pain it can be to create duplicates of a composition which contain multiple precompositions. It’s not as simple as duplicating it from the project panel, unfortunately. What this script does is create a complete duplicate of a comp hierarchy, including sub-comps.  If a comp is used multiple times, the comp only gets duplicated once and all remaining references point to the first duplicate.  If the comps are arranged in a special folder hierarchy in the project panel, that folder hierarchy is preserved or duplicated (depending on user preference) for the duplicated comps.

Based on the tutorial provided by Lloyd Alvarez, this script is very in-depth and can is definitely a timesaver. The best part is that you can pay your own price to get this plugin.

Text Box Script

TextBox preview 300x300 After Effects Add Ons

This free script from Motion Boutique creates a rectangular box around a text layer. A modern look for infographics and other motion graphics involves text being inside of a box. This script helps speed up the process of creating shape layers around the length of your text. I’ve used this script on a few projects myself and it has been a blessing to use. All I have to do is create my separate text layers, plug in my parameters for the script, and voila! I have a text box graphic. Grab this script now and see where it fits in your workflow.

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Using Mocha Masks in After Effects CC

by Garrett Fallin on September 2, 2015

mocha AE logo 410x190 Using Mocha Masks in After Effects CC

Mocha AE is the version of Mocha that comes with After Effects CC. It has a great number of tools to access with tracking and rotoscoping, however, it’s not nearly as robust as the stand alone Mocha Pro program. Today we will take a look on how to take footage from After Effects CC, bring it into Mocha AE, track the footage, and then create a mocha mask from the tracking data to apply back into After Effects. To clarify, a Mocha Mask is a no different from any Mask created in After Effects using the pen tool or marquee tool; it just uses the tracking data created in Mocha to move the mask instead of going frame by frame by hand and moving anchor points. Mocha Masks are great to use when you are handling beauty retouching, censoring a section of video, or isolating a specific part of video for color correction.

The steps are as follows:

– Sending footage from After Effects to Mocha AE

– Tracking with Mocha AE

– Exporting Shape Data and Importing Mocha Mask into After Effects

– Example use of Mocha Mask

SENDING FOOTAGE FROM AFTER EFFECTS TO MOCHA AE

Once you create a new comp with your video footage, select the footage from the TIMELINE and go to ANIMATION > TRACK IN MOCHA AE.

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TRACKING WITH MOCHA AE

With your footage now in Mocha AE, first select the X SPLINE tool along the top tool bar.

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Using the X spline tool, create a shape around the item you want to mask. In this piece of footage I decided to track an unwanted logo on the side of a car.

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If you want to smooth the edges of your x spline and not have such jagged corners, RIGHT CLICK on the mask and go to  POINT > SMOOTH.

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With your shape created you have the ability to name the shape in the LAYER PANEL along with changing the masks color. This is helpful when creating a series of masks you need to keep track of.

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In order to track the mask you’ve created, look at the tools below the timeline. You will see a RIGHT ARROW with the letter T. This is for track forward (the broken arrow with a T next to it is for only tracking one frame forward). Click the Track Forward button and let Mocha analyze the footage as needed.

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EXPORTING SHAPE DATA AND IMPORTING MOCHA MASK INTO AFTER EFFECTS

With your mask now tracked the way you want it, you’ll need to export the data in such a way that you can import a mocha mask into After Effects. To export your Mocha Track data, select EXPORT SHAPE DATA located in the lower right of the program. From here, a message window will appear. Select COPY TO CLIPBOARD.

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Back in After Effects, create a new Adjustment Layer CMD + OPTION + Y. With this new layer selected go to EDIT > PASTE MOCHA MASK.

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EXAMPLE USE OF MOCHA MASK

As an example, I will quickly show you how to censor your tracked item now that you have a functioning Mocha Mask in After Effects. In After Effects, go to EFFECTS & PRESETS and type in BOX BLUR. Then click & drag the box blur effect and drop it onto the adjustment layer. With the blur effect added to the adjustment layer, you have the ability to go into the EFFECT controls and increase the RADIUS and ITERATIONS until the desired effect is reached. With the Mask tracked to the footage, the effect with follow along perfectly!

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Royalty Free Music Orange 468 60 Yellow Dress zps3d728d61 410x52 Using Mocha Masks in After Effects CC

 

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Nodes 2 from Yanobox

by kesakalaonu on August 4, 2015

Nodes 2 Packshot + Hosts 300x168 Nodes 2 from Yanobox

Avengers. Ender’s Game. Iron Man 3. Rise of the Planet of the Apes. These are just a few films that have had the opportunity to utilize the plugin known as Nodes. With the release of Nodes 2, Yanobox has upped the ante with what this plugin can do. This motion graphic tool can import 3D models, interact with the After Effects camera, link text and images to individual nodes, and so much more. The best part is it supports the most popular editing and compositing programs on the market including: After Effects, Motion, Final Cut Pro X, and Premiere Pro. If you don’t believe how awesome and intricate this plugin is, take a look at this demo below:

I’ve had a chance to try out Nodes 2 myself and I was extremely impressed with how quickly I was able to pick it up. Here are a few quick examples of what I was able to create on my own, which to my surprise, rendered very quickly on my iMac. On top of that, I like that I can create certain animations with ease compared to plugins like Trapcode Form or Particular.

Overall, Nodes 2 is an incredible plugin that needs to be experienced firsthand to admire its depth. With this plugin, I am able to create breathtaking and stylized motion graphics that would require multiple plugins and tinkering to achieve the look Nodes can create effortlessly. I’ve always been a fan of the Yanobox plugins, and this Nodes sequel more than lives up to its predecessor. I like how the controls are easy to experiment with, as well as the presets. The presets provide a great starting point and can be manipulated at will. The fine folks of Noise Industries have provided very detailed tutorials for your favorite software application, which you can check out here:

If you are looking for a plugin that imports stunning 3D models, build networks of node structures, and allows you to create an limitless amount of text and image connections, then look no further than Yanobox Nodes 2. At the price of $299, it’s a no brainer purchase that will save you hours of work and allow you to explore more creative depths than you can imagine.

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Best Drones for Filmmaking

by kesakalaonu on July 31, 2015

quadcopter 512 300x300 Best Drones for Filmmaking

 

In this new era of filmmaking, getting complex shots has become much easier thanks to technological advances made by vendors across the world. It’s more affordable to get a rising shot thanks to jibs and cranes that are accessible to even the most low budget filmmakers. Getting stabilized shots are easier now thanks to amount of rigs available. Aerial shots have now become cheaper due to the influx of drones available on the market. I want to highlight some drones you may want to consider adding to your filmmaking kit so that you can increase your production value.

DJI Phantom 3 Advanced/Professional $1,3000

Phantom 3 3 e1428477888137 1940x1089 300x168 Best Drones for Filmmaking

This aerial drone is a new release from DJI and can capture great high quality footage from great distances. What makes this drone so popular is the following:

  • 3 Axis Gimbal camera which shoots HD (for the Advanced model) or 4K (for the Professional model)
  • Captures photographs at 12 megapixels
  • Live HD camera view via smartphone or tablet attached to the remote controller through the DJI app
  • Vision positioning through visual and ultrasonic sensors
  • Intelligent Battery with battery level indicator
  • Worry-free AutoPilot

As an owner of the DJI Phantom 3 Pro, I can attest to the incredible media captured with this camera. Within three days of learning to fly this drone, I was capturing great aerial shots that I would have had to pay a helicopter pilot to capture. With a $1,300 price tag, it is a steal for what you get from this drone. I would personally recommend this model for any prosumer or high end shooter who needs to capture aerial shots of client locations.

 

DJI Inspire 1 $3,399

 

inspire 1 20141105 0751 300x198 Best Drones for Filmmaking

The DJI Inspire 1 is the more advanced and expensive model of the Phantom models offered. This drone is designed with strong carbon fiber arms and gives the user a full 360 unrestricted view when in flight. The Inspire features:

  • 3 axis gimbal 4K camera which shoots up to 30 fps, or 1080p up to 60 fps and takes photos at 12 MP
  • Optional dual remote control function
  • Powerful propulsion system
  • HD wireless video transmission
  • Vision Position system
  • Intelligent Power Management system

If I had the expenses, I would have considered investing in this. I would definitely say that this model is meant for high end, big budget filmmakers that have the funds to afford it.

3DR Solo Quadcopter $999.95

 

266 300x169 Best Drones for Filmmaking

The 3DR Solo is an all-in-one personal drone with a great ease of use and powerful new features. Within these powerful features are the following:

  • Computer assisted cinematography through the Solo app
  • Attach a GoPro to gimbal harness and stream HD video from your GoPro to your iOS or Android mobile device, at ranges of up to half a mile.
  • Easy to use aerial photography controller
  • Powerful smart battery which displays remaining time
  • Up to 20 minutes of flight time with GoPro attached

I haven’t had the opportunity to try this drone, but based on the preview video above and the feature list, it has a lot to offer. With the ability to mount a GoPro, you know what type of quality you are getting. With a price tag of $1,000, you are getting an advanced video production tool that will give see a greater return.

Overall, these three drone models are great if you want to add aerial videography to your business and skill set. I’ve only began my journey into aerial photography, but already I feel that it has added much value to my current projects. I look forward to seeing what I can do next.

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Luca Visual FX Backgrounds & Overlays

by kesakalaonu on July 30, 2015

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The team at Luca Visual FX has brought another product to the market which will benefit professionals across Mac and PC platforms. It is the incredible and extraordinary Backgrounds & Overlays. This product is an extremely versatile collection of 100 HD clips which are an indispensable addition to any editor’s library.

It is compatible with the following software:

  • Final Cut Pro 7/X
  • Adobe Premiere Pro
  • Adobe After Effects
  • Apple Motion
  • Avid Media Composer
  • DaVinci Resolve
  • HitFilm
  • Sony Vegas

I had a chance to test drive this new product.

What are Backgrounds & Overlays?

519440859 1280x720 410x230 Luca Visual FX Backgrounds & Overlays

It is a vast collection of 100 Full HD dynamic motion graphic clips designed to be used as backgrounds and/or overlays for a variety of projects. You can use them in promos, VJing, music videos, sports, news, corporate, and much more. On the dedicated web page at the Luca Visual FX site, you can preview the entire collection and see what each background has to offer.

What are some of the best ways to customize these clips?

Editors can use blend modes from their host programs, change the speed rate, scale, crop, position, or add any third party filter or built in effects to customize these clips. Also, stacking several instances of Backgrounds & Overlays allows the creation of complex and beautiful effects by simply using blend modes. Use effects such as blurring and distorting to maximize your customization. In this clip, I created some examples to showcase how far you can push these clips.

To see how these clips can be manipulated and integrated into your projects, take a look at this tutorial where I show you how to use them with footage and text:

Is it possible to get the Backgrounds & Overlays in a different format?

backgrounds and overlays examples 410x150 Luca Visual FX Backgrounds & Overlays

All files are delivered as .mov files, so as long as the user has Quicktime installed everything should work correctly. If you need further assistance, you can contact customer support here.

Can you list some scenarios where these clips work best in?

Overlay #3 (0;00;00;00)

As mentioned above, they can be used for a variety of video projects. Here is a list of effects that I’ve done which you can try out yourself:

  • Video inside of text or shapes effect
  • Text backgrounds
  • Feathered shape overlays
  • Heads up displays
  • Frames and borders
  • Picture and picture background
  • Lower thirds
  • 2D & 3D animation inserts
  • And many more effects

Overall, I believe that Backgrounds & Overlays will be a product that users will turn to when they need to amp up their productions. With the dynamic range of motion graphics, and the fully customizable options that are available, the sky is the limit with creative opportunities. I strongly recommend that you download some of the demo watermarked clips and see what you’ve been missing. They are now available for download on the web page.

The launch price of Backgrounds & Overlays is $49.  Don’t miss out on this versatile product line.

For readers of this article, LVFX is offering a 10% off coupon when you make a purchase using this coupon code: BO2015S

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What is HitFilm?

by kesakalaonu on July 16, 2015

61mzGFZhA+L. SX342  300x300 What is HitFilm?

With all the editing and compositing programs available for filmmakers on Mac and PC, it can be hard to decide which program suits your workflow. The general understanding of post production is that editing should be handled in one program, where visual effects and motion graphics are handled in another. Programs that utilize this workflow are Premiere Pro/After Effects and Final Cut Pro X/Motion. With Avid Media Composer, professionals cut in the program but usually go to programs like After Effects, Fusion, Nuke, or Motion for graphics work. However, there are programs that have the best of both worlds all in one package. Autodesk Smoke has both editing and node based compositing capabilities. Another program is HitFilm Pro. I want to discuss HitFilm Pro, and why you should consider using it if you want an affordable all-in-one post production software.

What is HitFilm Pro?

HitFilm Pro is an all-in-one editing and compositing program. Designed to handle projects on the small scale to big budget, HitFilm can withstand it all. Bundled with over 180 effects, and the ability to switch between editing and effects smoothly, this program can do some amazing things whether it is in 2D or 3D. Need to motion track titles to a moving object? HitFilm can do it. Need to make your talent look like they are flying through the clouds? HitFilm can do that. This piece of software is pretty comprehensive and is only limited by what you want to create.

What is the general workflow when using it?

First time users can take different approaches to post production when they use this software. Gone are the days of switching between apps to do essential parts of the post production pipeline. Now, you have the choice between doing compositing or editing. In the second video above, Axel Wilkinson shows us a general overview of the HitFilm interface and how users can get up to speed crafting their videos in no time. Switching between the editing tab to the composite tab is something we could only dream of in the past. That reality is here with HitFilm Pro.

What effects can I create in it?

Like I said before, what you create in HitFilm Pro is limited to your imagination. Below is a list of effects and compositing capabilities it possesses:

  • Chroma Keying
  • Live 3D Model Rendering
  • 3D Particle Engine
  • Mocha 4.0 for planar tracking
  • Fire, lightning, and weapon based effects
  • 3D camera projection
  • Color correction/grading

Essentially, it possesses the capabilities of the popular NLEs and compositing programs on the market. Many web-based filmmakers have used created effects with this program, which include Corridor Digital, Film Riot and Freddie W. The effects I’ve seen created by users of this program would blow away even the most capable pros.

Why should I buy it?

There are many programs you could be using to complete your post production work. Many of which are trusted to get the job done by seasoned professionals. However, just because one workflow is trusted and most used does not mean it’s the only one that matters. Using HitFilm Pro will give you the ability to have the best of two disciplines in one program. No need to farm your visual effects out to a separate application. You can do it all in the application by tabbing over. With HitFilm Pro, you finally get the program that let’s you be all things post production without much hassle. When you have the options that this robust program offers, it’s a no brainer.

Overall, the team at HitFilm have created a comprehensive and robust application that can tackle even the most daunting of projects while making it affordable to every filmmaker. Download HitFilm Express 3 for free or purchase the pro version for $299.

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Motion 5 Tutorials

by kesakalaonu on July 15, 2015

icon256 Motion 5 Tutorials

Since its creation in 2004, Apple Motion has been an application that has evolved quite nicely, despite the fierce competition it faces from other apps like After Effects and Nuke. In its current iteration, Motion provides the plugin architecture for Final Cut Pro X, which means that all FCPX effects are actually Motion templates. With that advantage, users can create just about anything with Motion. Below are a few tutorials where Motion users illustrate how versatile the application is for their workflows.

Creating a Transition for FCPX

This tutorial highlights one of the core features of Motion, which is the ability to create custom transitions. Gone are the days of having to stack layers and utilizing keyframes. With a decent understanding of the Motion interface and its functions, users can create unique transitions to suit their video projects. In this particular example, the author shows users how to create a ripple flash transition from start to finish. When I discovered that you can create transitions and other effects in Motion, I decided to give Motion another try after years of being an After Effects user. I found this tutorial useful because even at the basic level, you can get an understanding of how far you can go with the creation of custom effects.

Animating a Photoshop File

There will be situations where your client wants to create a spot and you have no b-roll. Even worse, you have very minimal images to work with. However, they provide you with a layered, high resolution Photoshop file which you can animate and turn into a motion graphic with a little imagination. In this tutorial, Telemundo editor Brett Gentry shows us how he was able to take a client graphic and turn it into a 30-second spot using a combo of Motion and Photoshop. Utilizing markers, keyframes, and behaviors, he takes what I call a simple “Ken Burns effect” and makes an entertaining spot for an event. I will be first to admit that the Motion interface can be daunting at first glance, but watching how others work in it so efficiently inspires me to learn more.

Creating a Auto Green Screen Keyer with Background

There are projects you receive where the talent was shot on a green screen, and you need to key them out and insert the same background. If this is no more than five people, no big deal. However, if it is multiple talents and it needs to look like they were all keyed and composited the same way, it can become tedious. In the tutorial above, Brett shows us another way he uses Motion to create an auto keyer effect, which will allow him to key not only his talent, but insert/manipulate the background he wants behind them. This is convenient when you need to cut multiple spots or short form videos and time is not on your side. This effect is also a viable solution for the scenario I mentioned above with multiple talents. If you publish enough parameters and include the necessary assets, you can save a lot of time by creating an auto keyer effect in Motion.

Text Behind Glass Effect

I’ve highlighted the effects you can create in Motion for workflow tasks like titles, transitions, and effects, but it is always interesting to see how far one can push Motion to create things you would only expect in After Effects. This tutorial above is a prime example of something I wasn’t sure Motion could create. Editor/plugin author Simon Ubsdell takes a concept that originated in After Effects and creates it from scratch in Motion. Using textures, text layers, blend modes, filters, and behaviors, Simon creates this effect which can be used for promos, documentaries, or identifiers. I have to give kudos for the content that Simon has produced as of late. I’ve always believed the reason Motion wasn’t as popular as After Effects was because of the vast community and gurus that are out there. Seeing a dedicated user showcase Motion capabilities peeks my interest to add this tool to my skill set.

Overall, Motion has matured into a intricate and versatile tool that editors should take the time to learn. The market tends to favor the After Effects user, but every now and then there are jobs for people with Motion knowledge. Knowing this tool can benefit you in the long run.

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Understanding the Roto Node in NUKE 9

by Garrett Fallin on June 19, 2015

NukeLogo6 300x300 Understanding the Roto Node in NUKE 9

The Foundry’s NUKE is at the forefront for leading compositing programs in visual effects for television and film. Great news for those of you who want to learn NUKE and be ready for professional studio work. There is a FREE, non-commercial version to download. Once installed, you are ready to take on this tutorial and learn the functions of the roto node in a node based compositing program.

PLEASE NOTE* I have covered the topic of rotoscoping in basic and advanced tutorials previously in other compositing programs – Adobe After Effects & Silhouette FX. This tutorial is for those coming in with the knowledge of what rotoscoping is, but need or want to learn the interface of NUKE, since it is a node based compositing program. If you want to learn more of what rotoscoping is, please refer to my older lessons where I spend more time explaining the concept of rotoscoping.

I will break this tutorial down into three parts:

–       Adding the Roto Node

–       Shapes and Splines

–       Keyframing Shapes Over Time

ADDING THE ROTO NODE

Go to the DRAW NODES on the left hand side node bar > CLICK > and select ROTO. In your Node Graph, a roto node will appear. Simply hook up the viewer to the roto node in order to proceed.

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For those of you who are used to stacking layers in other compositing programs, such as After Effects, this might take some getting used to. Though the concepts remain the same, with node tree you are essentially mind mapping your ideas that are connected. I will go into more detail on Node Trees in another lesson.

SHAPES AND SPLINES

In your viewer, you can CLICK and create an anchor point. Continue to click around and you will start creating a shape. You can close the shape by either clicking back onto the first anchor point you created, or by simply hitting the ENTER key at any time.

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With the roto node active, on the left side of your viewer you will see your curves selections. The most commonly used are Bezier and B spline, but feel free to experiment with them all.

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Above the curves selection you will find your selection tools. These will control how and what you select of your splines in the viewer. For example, SELECT POINTS will allow you to select anchor points without selecting the splines themselves. Again, I encourage you to explore and tinker with all the tools to become familiar.

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In your properties window to the right, you will notice a list of shapes you have drawn in your viewer which will help you keep organized and remember which spline was used. Additionally, next to the shape name you have the EYE ICON which turns the shapes visibility on or off. Next to that is the LOCK ICON, allowing you to lock individuals shapes. That way they cannot receive or remove any keyframe data that has been established to that point. Next to that is the COLOR ICON which allows you to double click and choose a new color for that shape. The rest we will explore in a later lesson.

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KEYFRAMING SHAPES OVER TIME

Now let’s take a look at how we can start to animate these shapes across a timeline. By default the AUTO KEY feature is enabled. This is the skeleton key icon you see in the upper left hand corner near your selection tools.

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With this feature enabled, you can look at your frame on the timeline and see there is already a blue keyframe placed there.

Screen Shot 2015-06-16 at 6.28.41 PM

You can take your mouse and move the playhead further down the timeline, and then make adjustments to your shapes. You will notice another keyframe is automatically added (notice at frame one, and then again at frame 20, there is a blue dash representing the keyframe).

Screen Shot 2015-06-16 at 6.30.48 PM

Using your selection tools, you can move each control point individually, or you can highlight some or all of the control points on the shape and move those as needed. Additionally, you can go to your PROPERTIES window on the right and open the TRANSFORM tab to bring up the transform controls on your shapes. This will allow you to create separate transform keyframes on the timeline that handle transform, scale, and rotation.

Screen Shot 2015-06-16 at 7.22.04 PM

Screen Shot 2015-06-16 at 7.22.08 PM

 

 

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Luca Visual FX Hi-Tech Overlays

by kesakalaonu on June 2, 2015

Screen Shot 2014-03-25 at 9.28.26 AM

The team at Luca Visual FX have been working hard to bring a new product to the market that will benefit post production professionals across Mac and PC computers. It is Hi-Tech Overlays. This product line expands the alpha transitions and overlays that LVFX created in the past. This update brings a new model for users to access the elements they need at a moment’s notice. I’ve had a chance to preview the new library and had a chat with the guys of LVFX. Here are a few questions users may have.

What are Hi-Tech Overlays?

It is an alternative solution to our Hi-Tech plugins for FCPX that provides users of software such as Premiere Pro, Avid Media Composer, After Effects, Motion, and Final Cut Pro a way to build Hi-Tech mographs for promos, sci-fi, music videos, news and sport, corporate productions, and more.

Screen Shot 2014-03-25 at 9.09.47 PM

I see that you implemented a new system for the users to access the product. Tell us about it.

Yes, all mographs and images are provided in full resolution and the user will download from our web site only what they need any time they wish, right from the moment of purchase. We started working on this new way of delivering a product in December 2013 and hope to provide the easiest and most convenient way for our users to access a vast library of interchangeable mographs and images.

Screen Shot 2014-03-25 at 9.08.21 PM

Will the library be based on a subscription that you pay monthly, or is there a lifetime license?

No monthly subscriptions to pay, but only a single lifetime license that people can easily purchase on our web site. The user will receive unique and safe login details shortly after completing the payment, and will be able to download both Hi-Tech default looks of effects like holograms, displays, sci-fi mographs, fractals, etc., and individual elements to customize and combine as desired. The library also includes High-Tech Elements Vol.1.

Screen Shot 2014-03-25 at 9.10.26 PM

I have issues with Quicktime on my PC. Is it possible to get the Overlays in a different format?

All files are delivered as .mov, so as long as the user has Quicktime correctly installed everything should work correctly.

Screen Shot 2014-03-25 at 9.13.31 PM

Will there be tutorials on how to achieve the results you showed in the demo?

Yes, we have already edited four of them and more will come. They show how to customize not only the elements, but also how to combine them creatively in order to create unique looks. The first four are available on VIMEO.

If I own the FCPX templates of this product, is there a way to get access to this library to get additional elements?

Hi-Tech Overlays is essentially a cross-platform alternative to Hi-Tech for FCPX that will work with more hosts. FCPX users would find in the library what they have already in the form of FCPX templates. There are, however, several advantages in using individual layers. We also intend to expand the library and add more and more elements for our users. Should FCPX users wish to access the library in order to handle individual layers, we recommend to email support@lucavisualfx.com with their request.

What manipulation options would allow you to get the best results with Hi-Tech Overlays (i.e color change, distortion, time remapping, etc.)?

There are tons of ways to modify the overlays. The only limit is one’s creativity. For example, with filters, the user can indeed change the color and distort (some examples can be seen on the demo) but also add glow, blur, and many other stylizations. Another way to create unique compositions is to combine individual elements taken from different categories (i.e. Holograms and sci-fi overlays or Screens and Fractals, you name it), use blend modes to create nice superimpositions and layers. Another great advantage that not even the FCPX template can offer in such extent is the use of any transition you can think of in order to create your own Build-In and Build-Out at the beginning and end of your composition. An example is shown at the very beginning of the demo where all elements come together in different ways. Possibilities are endless!

Screen Shot 2014-03-26 at 8.19.22 PM

Do these elements come with embedded alpha transparency? If they don’t, what would be the best practice for getting transparency?

Yes, absolutely, the alpha channel comes with every single element of Hi-Tech Overlays.

Screen Shot 2014-03-25 at 9.22.10 PM

Overall, I believe Hi-Tech Overlays will definitely be a product with infinite possibilities for the user. The amount of ways you can mix and match the elements will definitely draw the user to think outside the box when they apply mograph to their projects. I strongly recommend that you try experimenting with different colors and manipulation effects to see how far you can push each element. In the process, you may create a unique look that wasn’t thought of before.

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VideoWall Plugins for After Effects

by kesakalaonu on May 27, 2015

after effects cs51 300x296 VideoWall Plugins for After Effects

One of the most common motion graphics you see on broadcast television, as well as motion pictures, is a video wall. A video wall consists of a grid of multiple videos all playing at once. In many examples, this is usually used to highlight a specific theme or subject, and is accompanied by text or other motion graphic elements. Creating video walls manually can be tedious if you don’t know how to start. But, nonetheless, it can be done. If you opt to go the third party plugin route, below are three plugins/tools from different companies for After Effects that can jumpstart your video wall creation.

Coremelt Video Wall Zoom & Panel Vision

coremelt logo 300x69 VideoWall Plugins for After Effects

Within the Coremelt Complete suite are two plugins I use to create a video wall. The first one is Video Wall Zoom from the ImageFlow FX collection. This generator creates a wall of images/movies, one of which zooms in to fill the screen, then zooms back down. Another just zooms in to fill the screen. Not only does it come with enough image/movie placeholders, but it also has an animation option that can be utilized in more ways than one. With the multiple image placeholders and animation settings, it can be used as a standalone motion graphic, or a chapter transition between segments.

Screen Shot 2015-05-26 at 7.04.25 AM

The second plugin from the Coremelt Complete set I would turn to for video walls is Panel Vision. Panel Vision is a part of the Shatter collection, which contains “3D” perspective plugins with interesting effects. Panel Vision allows you to tile up to eight source images randomly into any number of rows and columns. It’s great to use when you want to cram four to five videos into a wall with little effort. You can also combine with other plugins like I did in this tutorial below and get a circular shape.

BCC Wild Cards

boris logo 300x63 VideoWall Plugins for After Effects

BCC Wild Cards is used to generate an array of 3D cards with interesting and convenient animation options. This filter is a part of the Particles category in the Continuum Complete suite. It can be used to divide up one video into rows and columns of cards, or multiple videos into rows and cards. Below, After Effects guru Kevin P. McAuliffe shows us the possibilities you can achieve when using BCC Wild Cards with multiple videos.

One of the reasons I like this filter for video walls is the ease and flexibility in the control options. They are very straightforward and can have you up and running in little time. I have used it myself when I made a promo for my Premiere Pro project file giveaway, which you can see below.

I highly recommend giving this plugin a try if you want a quality filter for doing a quick video wall animation.

Red Giant Planespace

RedGiant logoBox2 White 294x300 VideoWall Plugins for After Effects

Planespace is a compilation of tools that are made to help manage large amounts of 3D layers in After Effects. Within this compilation are Cubic Distribution, Box Creator, Cylinder Creator, and Matrix Creator. One tool in particular that is great for creating a video wall is Matrix Creator. This tool can set up rows and columns with ease along with predetermined animated parameters. I’ve used this tool a few times when I wanted to create a video wall using 3D layers in After Effects, as opposed to having it contained within a filter. With Planespace, I can use an unlimited amount of layers to achieve the look I want. With this ability comes the caveat of slowing down After Effects if you have too many 3D layers.

Screen Shot 2015-05-26 at 7.05.07 AM

Overall, Planespace is great when you want to push the boundaries of After Effects’s 2.5D layers.

These are just some of the incredible tools and plugins you can use to create a video wall for your projects. Feel free to give them a try and add to your arsenal.

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Exporting/Compression Applications

by kesakalaonu on May 21, 2015

ATeam icons

Exporting your edit out of your NLE is one of the many important processes of post production. In the tape-based days of exporting, it could be a very tedious and time consuming process that required a lot of quality assurance. With the digital era of video and web based content taking charge, exporting your videos isn’t as hard as it use to be. As a video producer, it is my job to know what specifications are necessary to deliver to my broadcast and web vendors to ensure that my commercials get aired properly. That is why I need to know all the available media compression applications on the market. I’m going to highlight three applications that I’ve used for the last five years to get the job done.

Adobe Media Encoder

Adobe Media Encoder CS6 Icon 300x300 Exporting/Compression Applications

My go to compression/exporting application for the last four years has been Adobe Media Encoder. In times of fast turnarounds and very specific video types, Media Encoder has been clutch more times than I can count. Since I’ve been using the Creative Suite/Creative Cloud, Media Encoder has been apart of the bundle. Long before Premiere Pro had the ability to export media from the application itself, you had to queue in Media Encoder to get the final render you needed. The latest iteration of Media Encoder is a stable and reliable application that is able to meet vendor specifications much easier than anything I’ve used previously. Whether I need Quicktime files or mp4 files, it gets the job done. Below are a few abilities of Media Encoder:

  • Match Source presets
  • Exporting Closed Caption data
  • Import and export of Avid DNxHD assets
  • Support for new formats such as Sony 4K AVC-Intra (XAVC), Panasonic AVCI-200, DNxHD in an MXF container, XDCAMHD in a QuickTime (.mov) container, and more

Apple Compressor

icon128 2x Exporting/Compression Applications

The next compression/exporting application I used quite often is Apple’s Compressor. Compressor has been apart of the Final Cut suite for the last decade, and the latest installment is much stronger and efficient than before. I’ll be honest about my use of Compressor. I used it mostly when I needed to make DVDs or seldom used file types. It got the job done until I shifted to an Adobe workflow. It could be that the computer I had previously wasn’t strong enough to harness its true power. Overall, I found Compressor to be a backup in case Media Encoder failed to deliver what I needed. I have found that the latest version of Compressor works great when I edit with Final Cut Pro X. It creates great master files and web ready H.264 files very efficiently and clean. It even creates video files for iTunes app display. In my opinion, it is one of the best compression/exporting applications on the market and shouldn’t be overlooked. Below are a few features of Apple Compressor:

  • Intuitive interface
  • Streamlined workflow
  • Share Final Cut Pro settings
  • Encoding available for Apple devices
  • Broad format support and more

MPEG Streamclip

MPEG Streamclip icon Exporting/Compression Applications

MPEG Streamclip is a free application available for Mac and Windows which can open a variety of file types, as well as transcode to a variety of formats. In my opinion, this application was at its peak when most NLEs couldn’t take raw formats like H.264 from DSLRs. With most NLEs now supporting raw format editing in real time, this application has become more of a last resort compression application when you have no other choice. When I edited with Final Cut Pro 7 and Premiere Pro CS5, using this application to transcode footage was a common part of my workflow. These days, I help new  filmmakers learn to use it when they don’t have access to the aforementioned applications above. Overall, MPEG Streamclip is still a versatile application and I believe you should have it in your arsenal just in case. Below are a few features of MPEG Streamclip:

  • Lets you play and edit QuickTime, DV, AVI, MPEG-4, MPEG-1, MPEG-2 or VOB files. Transport streams with MPEG, PCM, or AC3 audio (MPEG-2 playback component required), DivX (with DivX 6) and WMV (with Flip4Mac WMV Player).
  • Saves edited movies as MOV files, and (when possible) as AVI or MP4 files.
  • Handles files and streams larger than 4 GB, split in any number of segments, or with multiple audio tracks, and can also optionally handle timecode breaks. It is compatible with MPEG-1 and MPEG-2 video, MPEG layer 1/2 (MP1/MP2) audio, AC3/A52 audio, and PCM audio.
  • Supports batch processing: just drag some files in the batch list, choose a conversion and a folder, click the Go button, and MPEG Streamclip will automatically convert all your files.

As you can see, these three applications are very capable of creating deliverables necessary to get your project out. While there are other applications like Sorenson Squeeze, Red Giant Offload, and camera based conversion programs, these programs have shown that they can perform at the top level. Feel free to try them out and find out what works best for you.

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Mocha Tracking in Silhouette FX

by Garrett Fallin on May 5, 2015

headlogo 400x400 300x300 Mocha Tracking in Silhouette FX

Silhouette FX is a dedicated rotoscoping program. Rotoscoping is the process of tracing a video image frame by frame creating a matte for later compositing. Essentially, think of of a father and son throwing a football back and forth in the front yard. What if you wanted them playing catch in a more obvious atmosphere – like a warring alien planet! You will need to rotoscope, or trace, around the father, the son, and that darn football in every single frame of that video clip. Once you are done tracing, you will have a series of black and white images called an alpha matte. Other software can then interrupt the image’s black as transparent and white as opaque. Therefore, the background will be removed, leaving you with just a go-lucky father and son playing catch. Now you can add in a new background, like that warring alien planet, underwater Atlantis, or in front of the great Pyramids of Egypt.

In the past I have shown you how to create an alpha using Silhouette FX, and also rotoscoping with Silhouette FX. This time, I am going to break down how to motion track. This is an advanced technique that is required for reducing the workload of rotoscoping by hand each frame of movement. The idea is that if you can mocha track an entire limb, for instance, throughout a shot, you will be able to apply your shapes using that tracked data and greatly reduce, if not fully eliminate, the need for manual frame by frame adjustments. I will now show you how to mocha track in three basic steps:

  • Setting Up Your Track
  • Tracking
  • Filing and Functionality

SETTING UP YOUR TRACK

Mocha Tracking is a partnership in the newest version of Silhouette from the planar tracking program, Mocha. I use this tracking program the most while working, and I find it to be the most accurate in diverse situations. Mocha is a planar tracker, which means that you create a shape (plane) that, when isolated, you can use Mocha to track from similarities in pattern, color, contrast, etc. The tracking shape will then follow along the path of tracking while storing the information in a layer (known as the tracking matrix). By storing the tracking information in a layer, you are able to add limitless shapes under that layer and the tracking data will apply to each of those shapes. Extremely helpful!

In the scene I am using I have a pair of hands with tracking markers on them. Tracking markers are not necessary, but are helpful in certain circumstances and encouraged if you have a savvy VFX supervisor on set to make those calls.

Screen Shot 2015-04-21 at 12.40.28 AM

To Mocha track, I first need to create a layer in the Object list panel.

Screen Shot 2015-04-28 at 10.40.05 AM

From there, using the B spline tool (it doesn’t matter if you use x, b, or bezier. I just prefer using B spline with human anatomy) draw a shape around the “area” you want to track. Now, I say “area” because you might want to track just the thumb, the index finger, wrist, or something that has a consistent movement throughout the clip. Think of a man walking from the profile view – you wouldn’t track his head and expect your shapes to adhere to the legs properly. You will need to track the head separate from shapes on the head (nose, chin, forehead), the thigh separate from the calf, the forearm separate from the shoulder, and so on. Since each section usually takes 5 – 10 shapes to complete, having a track all of those shapes can follow is a huge time saver. So again, I am going to draw a shape around the “area” I want to track.

Screen Shot 2015-04-28 at 10.47.08 AM

Keep the tracking shape tight around the area you want to track without it being a pixel perfect shape to what you need to roto. It needs some data from the surrounding area to differentiate pattern and movement. At this point, let’s go into our tracker controls.

TRACKING

Screen Shot 2015-04-28 at 10.48.51 AM

Screen Shot 2015-04-28 at 10.49.02 AM

Looking at the controls (unless I have a scene where the cameraman is moving around a scene while filming) I generally only want to track the TRANSLATION, SCALE, and ROTATION.

Screen Shot 2015-04-28 at 10.50.34 AM

In Pre-Processing, you can check on PREVIEW and play with the Blur, Sharpen, contrast, etc., until you get a high contrasted image that gives nice shapes and patterns for your tracking shape to follow.

Screen Shot 2015-04-28 at 10.51.50 AM

Now go ahead and Track forward.

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FILING AND FUNCTIONALITY 

Back in the Timeline you will notice the LAYER you created now has multiple keyframes under whats called the TRANSFORM MATRIX.

Screen Shot 2015-04-28 at 10.53.22 AM

This is your tracking storage, and now you can create any number of shapes you need under that layer, and that tracking data will now apply to each of those shapes.

Screen Shot 2015-04-28 at 11.00.59 AM

Screen Shot 2015-04-28 at 11.00.48 AM

Notice towards the bottom of the list, I labeled that initial b spline I used for tracking as my “tracking shape” and just locked it and turned it off. That way, if I need to adjust the track down the line, I still have it for reference.

For your reference, here is the video that particular sample clip came from. In this example, you can see how rotoscoping became important for us (me and the other artist working on this clip) in order to strategically animate on new skin tones and iron man hand blasters.

Royalty Free Music Orange 468 60 Yellow Dress zps3d728d61 Mocha Tracking in Silhouette FX

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Rotoscoping with Silhouette FX

by Garrett Fallin on April 28, 2015

headlogo 400x400 300x300 Rotoscoping with Silhouette FX

Rotoscoping is the process of tracing over footage, frame by frame, in order to create a matte to be used as an element for compositing over another background. Think of it this way; say you have a three second video clip of a golfer hitting a ball. If you wanted to place that golfer on an alien planet, or deep underwater, playing a round of golf, then you would need to go frame by frame tracing around the golfer swinging his club and then composite over the new background. Rotoscoping is a time intensive process. With the example of the three second video clip of the golfer, at the standard rate of 24 frames per second, that means you would need to rotoscope 72 frames to complete the sequence. In the past, I’ve showed you how to use the rotobrush in After Effects. However, with longer sequences, it’s better to use a dedicated roto program such as Silhouette FX. In this tutorial, I am going to show you the basics of roto with Silhouette FX in two simple steps:

– Breaking the image down into Shapes

– Moving Shapes throughout the Sequence

*Before we begin, if you need help setting up your shot, or need some initial background on Silhouette FX, I would recommend you refer to a previous tutorial I posted titled “Creating an Alpha in Silhouette FX” which you can review here.

Screen Shot 2015-04-21 at 12.40.28 AM

BREAKING THE IMAGE DOWN INTO SHAPES

Once you import your media and setup a new session, you will need to select your spline tool from the left hand side of the canvas window. Your options are B spline, X spline, or Bezier. Please note that if you intend to import the roto’d footage into NUKE for compositing, then you will want to avoid using the X spline tool as there seems to be issues with NUKE interrupting those particular splines. I would recommend going with the B spline in that instance.

Screen Shot 2015-04-21 at 1.14.41 AM

Whichever tool you decide to use is up to you, however, the technique is universally the same. A successful roto is built upon breaking the image down into a series of shapes. In this example of a video clip of some hands, I will focus on the left hand first and break down each finger into a series of ovals and curves that contours around the joints.

Screen Shot 2015-04-21 at 1.27.13 AM

This is because as the video clip progresses and the hand begins to move and flex, moving individual shapes located around the anatomical joints is much easier than trying to create one large outlining shape around the entire hand and trying to move that frame by frame. It doesn’t matter what the roto subject is – a hand, a face, a machine, a book – it is your job as the roto artist to visually break down the subject into a series of shapes and animate those shapes over the course of the footage.

MOVING SHAPES THROUGHOUT THE SEQUENCE

At the bottom of Silhouette you will see the TIMELINE. This is where you will be able to visually see all the keyframes and movements you are making with the shapes throughout the sequence.

Screen Shot 2015-04-21 at 1.38.59 AM

Here are the playback controls:

X – Move one frame forward

Z – Move one frame backward

L – play video forward

K – pause video playback

J – rewind video playback

You can also zoom in and out of your image with ‘I’ and ‘O,’ and SPACEBAR allows you to pan around the image as needed.

As you move forward frame by frame you will not be using the X spline or Bezier tool to move the shapes you created. Instead, you will be using the Transform tool or the Reshape tool:

T – transform Tool > creates a box form around your shape allowing you to manipulate the corners of the box in order to stretch and form the shape. This is ideal for most simple movements between frames. The more basic movements you make, the less chance there is for “jitter,” which is an anchor point from one of your shapes jumping around from being manipulated wrong throughout the sequence.

R – Reshape Tool > this tool allows you to manipulate the individual anchor points of each shape. This should be a last resort method of moving a shape and only needs to be used in shapes that have extreme changes that cannot be captured using the transform tool. An example would be an article of clothing where a wrinkle appears for a few frames and then disappears.

To summarize, you will be using the X and Z keys to move forward and backward one frame at a time and using the Transform tool to move the shapes to capture broad movements, or the Reshape tool to capture fine details. Once your finished, use the J,K, and L keys to playback the footage and watch the shapes to make sure they stay on track with the roto subject. If there is an issue, simply stop the play back and make the adjustment as needed.

Screen Shot 2015-04-21 at 2.05.28 AM

Royalty Free Music Orange 468 60 Yellow Dress zps3d728d61 Rotoscoping with Silhouette FX

 

 

 

 

 

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Creating an Alpha Matte in Silhouette FX

by Garrett Fallin on April 22, 2015

headlogo 400x400 Creating an Alpha Matte in Silhouette FX

An Alpha Matte is a black and white piece of footage that instructs a program what is transparent or opaque. Think of a family photo – say you took that photo of you and your family in your living room, but you wish you could place them in a more exciting environment. By creating an alpha matte you can instruct a program, such as Adobe After Effects, to only see you and your family and make the background completely transparent. Thus, allowing you to insert a new and exciting background – outer space, the jungle, Paris, etc. I will show you how to create an alpha matte using Silhouette FX in three simple steps:

– Setting up a New Session

– Creating the Alpha Matte

– Exporting the Alpha Matte

SETTING UP A NEW SESSION

When you first open Silhouette FX you will need to import the footage you intend to roto – this may be a video clip or a sequence of JPEGs or DPX images. For this example I will be creating an alpha matte from a single image. To import the footage go to FILE > IMPORT > MEDIA, and then navigate to the desired footage and select OPEN.

You will notice the footage is then added to your PROJECT PANEL for visual reference. At this point, you need to open a new session with this media before you can start to create your matte – think of a new session as a new composition if you are more familiar with an Adobe After Effects pipeline. To create a new session, simply go to SESSION in the top toolbar and select NEW SESSION (or hotkey COMMAND + N). An info window will pop up allowing you to name the session and adjust any settings needed. For this training exercise, keep all the default settings and leave only ROTO checked as the available Node.

Screen Shot 2015-04-21 at 2.15.26 AM

CREATING THE ALPHA MATTE

Now that you are ready to create the alpha matte you will notice a set of tools located on the upper left hand side of the canvas window.

Screen Shot 2015-04-21 at 2.28.41 AM

Screen Shot 2015-04-21 at 2.15.38 AM

About halfway down that list you will see an icon that looks like a dot with a curved line and an x – this is the X SPLINE TOOL. Just beneath that is the BEZIER TOOL.

Screen Shot 2015-04-21 at 2.15.43 AM

Both tools are sufficient in completing this task. If you use Photoshop you most likely already know all the subtleties and tricks behind them. I find the X Spline tool better suited for rotoscoping human anatomy. However, if you intend to export your matte to composite into NUKE, there tends to be some ingest errors as X Splines are not supported in NUKE and, in turn, attempts to be converted into faulty Beziers.

To use either tool simply click and select it from the tool set, navigate over the canvas image and click to create an ANCHOR POINT. Move your mouse and click again to create a second ANCHOR POINT. Now you’ll notice a line is connecting the two points. Continue to click around to create your desired shape and finish by returning to the first anchor point you created. Click on it one final time to close and create an OBJECT.

Screen Shot 2015-04-21 at 2.30.58 AM

OBJECTS you create are then stored in the OBJECT LIST window located to the right of your screen.

Screen Shot 2015-04-21 at 1.35.02 AM

You will also notice in the lower right of the OBJECT LIST window is a ‘+” icon – if you click on it you will create a LAYER. You can highlight shapes and drag and store them in these layers you create. Layers are helpful to help sort all of the objects you create for quick reference and control.

Screen Shot 2015-04-21 at 2.14.23 AM

It’s good to break your image down into a series of objects instead of trying to outline the entire subject with one giant outline. It is easier to make adjustments to isolated shapes.

Screen Shot 2015-04-21 at 2.14.42 AM

EXPORTING THE ALPHA MATTE

Once your alpha matte is finished, you are ready to export. Simply go to SESSION > RENDER SESSION (or hotkey COMMAND + R).

Screen Shot 2015-04-21 at 2.17.16 AM

You will be presented with a Render Options window. To ensure you are getting just the alpha matte, uncheck COLOR and make sure ALPHA is the only format checked. For format type, use the drop down menu to select TIFF. Change the range to CURRENT FRAME. Finally, to finish under output, you can select the three dots next to DIRECTORY to be able to set your render destination, input a FILENAME, and hit APPLY.

Screen Shot 2015-04-21 at 2.35.01 AM

You have now successfully created and exported your alpha matte. From here, you can import the matte into another software program, such as Adobe After Effects, and combine the matte with the original image in order to eliminate the background and continue to composite as needed.

Screen Shot 2015-04-21 at 2.14.55 AM

Royalty Free Music Orange 468 60 Yellow Dress zps3d728d61 410x52 Creating an Alpha Matte in Silhouette FX

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