Wrinkle & Basic Blemish Removal with Mocha AE and After Effects CC

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Beauty retouching has evolved throughout the ages. First, we had make up artists who would do their best to mask and cover various blemishes. Over time, it became possible to retouch photographs by hand to cover any blemishes the makeup artist was not able to clear. Now, we are not only able to retouch images, but high resolution video itself. Right now there is a growing niche market of beauty retouchers and artists taking on the role of a “digital make up artist,” retouching and removing various wrinkles, blemishes, shine, and more. I will show you how to remove wrinkles and basic blemishes using a combination of Mocha AE and After Effects CC in three easy steps:

– Create a Main Track in Mocha

– Create cover layers in Mocha

– Export and Composite in After Effects

 CREATE A MAIN TRACK IN MOCHA

With your footage in Mocha, first look at your subject and decide where exactly your will be focusing.

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Looking at my subject, I can see she has some general light blemish marks along her left cheek. Additionally, as she scrunches up her mouth she creates a dimple in the corner of her mouth which will act as a good “wrinkle” example for us, as well to show the range of this techniques use.

The goal here is to smooth out that dimple in the corner of her mouth while also blending away those light blemishes along her cheek. In the footage, she keeps her head in that general direction. This allows certain features of the face to be ideal for motion tracking, such as the eyebrows, chin, and nose (the ear and hairline is also good, however, in this sample the hair is covered by the ear and the wind is blowing her hair around her forehead, making these options not possible). Using the X spline tool, create a generic shape around the eyebrows, chin, and nose and TRACK FORWARD.

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You can label that layer in your LAYERS PANEL as MAIN TRACKER to help stay organized. We will not create an additional layer that we can animate over the course of the clip while linking it to the Main tracker for general motion.

CREATE COVER LAYER IN MOCHA

The Main track is to capture the overall movement of the camera and of subject’s head and face. Throughout the clip, the subject moves their mouth slightly with a few other facial muscles contorting. We need to create a cover layer that will focus on the wrinkle and blemish area while also remaining flexible as the subject contorts their face and mouth. From here, I am going to create a cover layer focusing on the areas mentioned.

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The mask at first seems a bit jagged, so highlight all the points, right click, and go to POINT > SMOOTH

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Now, make sure you have that new cover layer highlighted and go to LINK TO TRACK > MAIN TRACKER. This will now link the cover layer to the main tracker allowing it to follow along with the camera and facial movement. For the fine tuning of the face contorting throughout the clip, scrub through the footage. As you see the mask intersecting with areas of the mouth and her movement, grab the points and adjust accordingly. This will create a keyframe on the timeline indicating that the mask will be in that form at that exact point on the timeline. Continue to scrub through the footage adjusting all remaining points as needed.

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Once you think you are finished, let the footage playback a few times and watch the facial movements against your keyframed layer to make sure everything meets your expectations.

EXPORT AND COMPOSITE IN AFTER EFFECTS

Once you are ready to export the cover layer, go to EXPORT SHAPE DATA located in the lower right of the program window. At the pop up window choose COPY TO CLIPBOARD.

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Back in After Effects, create a new Adjustment Layer (CMD + OPT + Y) and then paste the mocha mask shape onto the adjustment layer by going to EDIT > PASTE MOCHA MASK.

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With the cover layer now composited on top of your source clip in After Effects, go ahead and add a BOX BLUR to the Adjustment Layer. Increase the BLUR RADIUS to 10 and open the mask settings and feather the edges to about 15.

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And now take a look at with the cover layer on and off

ON

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OFF

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You can see the blemishes have been removed and there is a general smoothness to the dimple around her mouth as well. As you increase the BLUR RADIUS, you can further smooth out the wrinkle. Be warned that increasing this too much will distort the image and will not look realistic whatsoever. You’ll need to use finesse. In another lesson, I will go into more detail on how to eliminate glaring blemishes, scars, and birth marks.

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Scar Blemish and Birthmark Removal in Mocha and After Effects CC

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In this day and age of digital revolution, it should be no surprise that make up artists are not the only coverage actors and actresses receive these days for blemishes, scars, shine, wrinkles, and more. Digital beauty retouching is a growing niche market where VFX artists are now able to accurately track the motion of their subjects face throughout the course of the video clip, and then isolate the blemished areas and clean them up further and more accurate than any makeup can cover. In a previous tutorial, I showed how to create a basic cover that can eliminate wrinkles and basic textured blemishes. In this tutorial, I wanted to focus on the harsher blemishes, scars, and birth marks that tend to stand out more prominently, and need some more direct care to treat.

I will break the technique down into three steps:

– Creating an isolated primary track

– Creating a Linked Mask of a Clear Area

– Exporting and Final Composite in After Effects

CREATING AN ISOLATED PRIMARY MASK

With your footage in Mocha, we are first going to create an isolated mask around the prominent blemish, scar, or birthmark. In my sample footage I am going to focus on two areas – one blemish and one mole as an example.

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In the previous, I had you create a general track mask around the whole face. This time, since the blemish area is so prominent, you can zoom in and create a mask just around the problem area itself using the X spline.

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Below the timeline you will find a set of arrows with a letter T by them indicating Track forward and backward. Go ahead and track forward to the end of the clip.

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In your layers panel you can rename the layers to BLEMISH 1 & BLEMISH 2 just to keep things organized.

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CREATING A LINKED MASK OF A CLEAR AREA

Using this tracked data, we are now going to create new layer masks just slightly next to the source blemishes in order to capture a blemish-free and clear reference area to composite over the blemish itself. With the X spline tool, go ahead and create a new layer mask just next to each isolated blemish.

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I also went ahead and changed the color of the cover mask to a blue and renamed the layers to COVER 1 & COVER 2 to keep things organized.

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At this point, LINK both COVER 1 and COVER 2 with their partnering BLEMISH 1 and BLEMISH 2. That way, both covers follow along perfectly with their blemish counterparts.

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Scrub through the footage or simply let it playback and make sure both covers follow perfectly.

EXPORTING AND FINAL COMPOSITE

In this situation you will want to export each cover layer one at a time because you will be compositing each potentially slightly different from one another and will need individual control. With the first cover layer selected, go to EXPORT SHAPE DATA in the lower right of the program window, select it, and choose COPY TO CLIPBOARD on the pop up window.

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Back in after effects we are going to DUPLICATE the source video (CMD + D). With the duplicate video selected go to EDIT > PASTE MOCHA MASK.

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Zoom in on the cover mask and now click and drag the mask over the blemish.

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Open up the Mask controls under the duplicate layer and increase the feather and slightly decrease the expansion. You can also SOLO the layer to see how much feather you are applying.

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You can now play back the video and make sure the feather and expansion amount is adjusted appropriately so that it looks natural and properly covers the blemish. Repeat the process for Blem 2 and for any other scar or birth mark you need to digitally remove.

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Linking Mocha Track Masks

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Mocha is a great program for tracking. That data can then be applied and used in other software programs such as After Effects for various reasons and uses. Such examples include beauty retouching, set extensions, and rotoscoping among others. In Mocha you can use a tool to create a tracking area. The program then goes frame by frame and tracks the area designated. You are then able to use the data from that one tracking area, or, what I will be showing today, is using that track to act as a PARENT track and link other mocha objects to it. In this tutorial, I will show how you can track a portion of the rear end of a car that’s moving, and then use that track as the parent while highlighting other portions of the car rear (license plate, logos, emblems, etc.) and linking them to that parent track. This is a great technique to use to save time. Instead of tracking two or more objects independently, you only need to track one item and parent the rest using the same data.

I will break down this technique in the following steps:

– Creating a Parent Track

– Linking Tracks

– Exporting linked tracks and example uses in After Effects

CREATING A PARENT TRACK

At the start, I already have my footage open and ready in Mocha AE. To create a parent track I am going to use the X spline tool to create an object around the large concave marking in the rear of the vehicle.

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Below the timeline there is the Track forward and Track backward buttons as marked by arrow icons with the letter T. Go ahead and select the Track Forward button and allow Mocha to track the object we just created.

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Once the tracking has finished, in the LAYERS PANEL rename Layer 1 to Main TRACKER as this will help identify what you are linking to.

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LINKING TRACKS

Now that you have your main tracker, you can create new layers using the X spline tool again and link them to this main tracker to use the same set of tracked data. In this example of the car driving down the street, I am creating new layers around the license plate, Cooper title, and emblem that are all the on the rear of the vehicle and look to follow the same path as the main track layer I have created.

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In order to link these new layers to the main tracker, navigate back to the layers panel, select the layer you want linked to the main tracker, and then about halfway down the window on the left you will see a option for LINK TO TRACK. Open that drop down menu and select Main Tracker to create that link.

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Now these new layers you have created and linked to the main tracker follow along the same path! Congratulations!

EXPORTING LINKED TRACKS AND EXAMPLE USES IN AFTER EFFECTS

To get this tracked data out of Mocha and into After Effects where we can continue our compositing needs, simply go to EXPORT SHAPE DATA located in the lower right of the program window, a new window will open, and then choose ALL VISIBLE LAYERS and COPY TO CLIPBOARD.

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Back in After Effects, create a new Adjustment Layer and then go to EDIT > PASTE MOCHA MASKS. This will apply the shape data to the adjustment layer and create its own set of masks using the main tracker tracking data. At this point, you can composite as needed. In this example, I added a BOX BLUR to the layer, increased and feathered as needed, and now I have a tracked censor on the car.

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Another thing I can do is create a new solid and paste the Mocha Mask to the solid. This technique can always be used with JPEGs or other images if you wanted to track a new image onto the car or license plate.

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Using Mocha Masks in After Effects CC

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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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BASIC Screen Replacement with Mocha & After Effects CC

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One very common visual effect is the screen replacement. You see this in movies, TV shows, commercials, corporate videos, music videos, documentaries – you name it. The screen is replaced with an alternative image or video, most commonly on televisions, computer screens, etc. Now, phone and tablet screens are becoming more common.

I will show you how to create this effect in three simple steps:

  • Set up your new comp in After Effects CC
  • Import and track screen in Mocha AE
  • Export data and finish comp in After Effects

SET UP YOUR NEW COMP IN AFTER EFFECTS

First you will need two different pieces of footage – one is the source video clip of the screen that is going to be tracked and replaced.

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And the other is the image or video that you plan to comp on top of the screen.

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Go to COMPOSITION > NEW COMP (Hotkey is COMMAND+N) – create the parameters needed for your source clip (time, fps, size, etc.). Drag your footage into the comps timeline, making sure to keep your screen replacement footage layered on top. For now, you can keep the visibility turned off (click the EYE icon next to the later to toggle visibility).

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IMPORT AND TRACK SCREEN IN MOCHA AE

We are now ready to send your footage into Mocha AE, to do that simply highlight your source footage in the layers panel and go to ANIMATION > TRACK IN MOCHA AE. If you’ve never opened mocha AE before, it will ask you if you want to register the product (feel free to fill this out or simply hit ‘register later’). You will then see a projects panel where you will notice your source clip is already loaded in for frame rate, duration, and title. Hit OK to confirm these settings.

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Using the X Spline tool you will be creating a shape around the screen you want to replace.

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To use this tool, simply click and you will place an anchor point in your shape. The shape we want will have four anchor points – one around each corner of the screen we want to replace. When you connect back with the first anchor point, your shape will close and be complete.

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Below the viewer you will find the track options.

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Go ahead and choose TRACK FOWARD allowing Mocha to track the screen using the X spline shape you drew.

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Across the top toll bar you will find a square icon with an ‘S’ in the middle (hovering over the shape will reveal ‘show planar surface’), select this, and you will notice a blue box has appeared within our X spline shape.

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This blue box will dictate where the corner pin data will place your image or video in relation to replacing the screen. At this point, grab each corner of the blue box and line it up with the edge of the screen. When you are finished, you can test how the border looks by going to the left INSERT CLIP drop down menu and selecting one of the grid layouts.

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EXPORT DATA AND FINISH COMP IN AFTER EFFECTS

To export this track data and use it back in After Effects, locate EXPORT TRACKING DATA in the lower part of the screen, select it, and use the drop down menu to locate the option AFTER EFFECTS CORNER PIN [SUPPORTS MOTION BLUR]. Finish by choosing COPY TO CLIPBOARD.

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Back in After Effects you can turn the visibility back on for the image or video you will be using to comp on top of the screen. Have the image or video selected in the layer panel and choose EDIT > PASTE. The Mocha AE track data that was copied to the clipboard will be pasted into the image or video and correlate all the corner pin needed for a successful comp.

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You will notice the image or video will not be comped correct over the screen after you paste the corner pin data. To fix this, highlight the image or video in the layer panel and hit ‘A’ to bring up the anchor point. From here you will need to use the axis sliders to move the image or video into place.

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