Best Friends Making a Video Together

brighter than the sky i changed everyone's pins i didn't get this email i have to repeat it every time i walk you through this shot you guys saw the shot you know what i'm talking about you saw it i don't even explain it come on i want have this come out of nowhere like in Fortnite, just when you build things in Fortnite pieces, what I have here is a noodle wall, so I cloned just one cylinder, made sure everything was fine. to the measurements of the actual foam wall, once you have my phone wall modeled, group everything in a dropdown menu so you can work with that model.

The first thing I'm doing is stacking effects. I threw the noodle wall at a fracture object and into the fracture. object, I told him to not just look at the whole thing, but to break it down into all the different segments that it's made of. The next thing that throws that into a random effector randomly moves all the objects in your you know, whatever you put in the randomizer randomizes. position randomizes scale and rotation. I'm going to place the random effector into another effector called push. I don't want to separate them. I want them to come out of nowhere and scale to their final size.

The bend part effect actually has a drop-down menu here in the mode called separate scale, that's what I'm animating. I'm animating a separate scale and I'm animating the random effector and that will give us the look of this foam wall. materializing out of nowhere, that's what I like most about cinema: you have all these cool things in the program that allow you to do a lot of fun things and you can modify them in a lot of different ways, that's what it seems like. as it builds from the outside in, you know, it ends on the inside, that's the essence of animating the wall, now we're in a position where I need to put this animation in a shot that's very unstable, I'm not the

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Camera tracking works the way camera tracking works: it actually tracks dozens of points throughout the shot. Discover how all those points move relative to each other to discover a 3D camera that moves through space. My problem here is that there is not enough detail. So yeah, unsharp mask and I talked about this in the previous

video

before you have to add three different layers of unsharp mask. It's a gross looking shot, but now it's ready to go, so that's what I'm going to do. I exported it as a sequence of images then opened the 3D camera tracking program of my choice, which is buju because it's the one we still have.

If I follow the functions, I go advanced, sometimes I go large scale, which seems to track things a little bit. better, but for this I'm going to go by the normal scale maximum search distance 30 because that's a fast motion shooting sensitivity that you don't want to increase that much. Let me start with what exactly makes this shot difficult to track. There is a lot of noise and I don't mean the classic noise that you would get with an image sensor, I mean visual noise in the sense that there are a lot of different things that are difficult to differentiate from each other, for example the computer has a hard time distinguishing them. the difference between different blades of grass, so you could be tracking one point and then suddenly that tracking point moves to a different place in the

video

and you end up with an inconsistent raw and it ends up giving you an unstable track. and to solve that, you have to go in and manually track the points you want to track, things that are very far away, things that are very close to the camera, things that move throughout the sequence, especially oh, the

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things that you can track are things that have been completely obscured by the camera for some time but then come back before the end of the shot because the computer doesn't know the difference between a point here and a point at the end of the shot because it disappeared for a while but because humans I have context and I can apply it, I know that point is the same, so I can set and tell the computer that it is the same, so now that I've gone through it, I added all those manual tracking points and threw them into the La camera was solved to discover the 3D camera and then it spits out this 3D camera and as you can see here, here are all these tracking points, you can see all the points in the distance that are marking the mountain, the big tree in the distance here . because we're all here in the front and I kicked this into Cinema 4D and that's where Clint takes over and really puts things into the scene and we're back, so now what we're going to do is take the animation of that wall and put it in the scene that ren followed, you can see here a kind of bird's eye view scene, you can see me virtual running with this camera all these yellow lines, what are these yellow lines?

That is the fall for everyone. From these walls, I still don't know how to hide them. I tried searching on Google. I don't know how we have four prints of the wall lined up next to each other, which is exactly where they need to be to take the shot. The sense of story and seed has been changed for all of these walls, so the same basic animation happens, but in different ways. You know it's like if you make a pizza, every pepperoni pizza is not exactly the same. In this case, you know. I'm worried that, oh, I don't know if the track was good or not, so I would just render it as a very low resolution version of this animation and put it in after effects and calm it down and see if it works, but I don't.

You don't need to do that because Ren is really good at tracking things, so another grayscale gorilla plugin, this is the pro light kit, it's really cool because it allows you to essentially use a sunlight tool, you control the sun inside of Cinema 4D in combination with HDRI. studio equipment, I'm lighting the scene with an hdri, a lot of the grayscale gorilla stuff is like stuff you can do in Cinema 4D, but it would take you 10 times longer, so they've optimized it so you can get to the end result a lot faster. On top of that, I want the shadows from these foam walls to blend

together

in the final shot, so what I'm going to do is pull down one floor and on that floor I'm using a shadow catching material that does exactly what it catches. the shadows, two things happen in the background, we have Gabe, who is rotoscoping Nico and Ren running through the scene because the fences will be on the right, they will be in front of all these fences, Gabe has to cross the shot. by hand shot cut at random unique once this rendering is done it will be ren for the final pass father storm and then at that point father storm renders the final shot remember that this episode is brought to you by Squarespace and if you need a domain website or store online make your next move with Squarespace just like the security system here oh clean come back from lunch uh what's the passphrase what's the passphrase yeah we have a new one everyone has a passphrase now um did you send an email or something? no, um, I don't know, I know my code, my new access code, but give me a fact about Squarespace, oh, okay, uh, squarespace.com has award-winning customer service which is 24 hour customer service, 7 days a week.

Yes, congratulations, Clint, your passphrase is Squarespace is 24/7. award winning customer service you will need it every time you enter and leave the studio squarespace.com has award winning customer service yes 24 7. 24 7. the only way to get in is if you tell me a fact about squarespace squarespace is flexible for any type of website, whether you are a musician, designer, artist or something, you can use Squarespace to easily design your websites, that's really good, don't forget you will need it in the future. in the studio from now on okay repeat that every time i changed everyone's pins too me nico what's up jake what's the passphrase?

You need my password, no that's your pin, what's your passphrase? Everyone has a passphrase now, I don't. I didn't get this email uh uh sam sam what's the passphrase dude I don't know how about cheese and crackers now I'll give you a hint okay, it's a square space fact it's like a trick no, how about um they have some really cool templates, sleek and simple or something, Squarespace probably keeps their entire codebase up to date so you never have to worry about updating your website for new browsers, level five authorization. You can now enter the studio.

It was um, they have award-winning templates. they are beautiful yes you have a job to do this is my job buddy oh hey gabe no hey what's your passphrase buddy squarespace offers a unique domain experience that is completely transparent and easy to set up so i always knew there was something special about that type what how many errors do I have? Yeah, I don't know what that means. Now that Clint has created the assets and rendered the shot, I'm going to composite it, so he remembers that these are two different stages of the effects process. You have to create the element and then render it to turn it into something real and now I have to add it to the footage and it's not just a simple matter of putting it on top of the footage, as we learned in that previous video, what was that previous video?

Now the walls. moving with the camera that's cool but obviously they're on top of me and nico so that doesn't work we're going to have to rotate nico and I think gabe did that and they don't match the shot. They are too bright, they have too much contrast, they are too saturated and the shadows are too dark, so I have to somehow separate the shadows, lower them, this is how I did it and immediately you can see that the shadows are actually integrated into the here, i know a great trick to get rid of it, so check this out, if i add the pull filter, it's like removing dark or light things, if i slide it down, it will start removing everything that is bright. and I don't want to remove what's bright, so I'm going to remove what's dark and so, the shadow because it was basically pure black, you could remove numbers, man, so here are my walls first, I used extract.

I got rid of the shadows completely, that's fine because I just duplicated that layer later, as you can see here, add some quick blur and you want to tint it the same color as the shadows in the scene, you can add the shadows and now. The shadows look more normal and you can already notice a big difference. They see each other apart from the fact that they are on top of Nico. It looks like they are sitting right above the ground. Another thing I added was ambient occlusion, its proximity. Darkness is not a real shadow, it is more the absence of light, so here it is without ambient occlusion, here is the width without waiting, the next thing I added were levels.

I also have information panels, so if I click up here, I actually go down to hsb, this is nice. It's the number one tool I use to try to match renders to a scene. What is the brightest part of our shot? Here is the sky, so just by hovering over the sky I can see that the brightness is set to 93 if I hover over here on let's say a bright spot right above this blue here that has a brightness of 100, that means that the render is brighter than the sky, that shouldn't be the case and also the shadows, I'm going to increase the shadows a little bit and, but then I'm also going to increase the gamma to add some contrast now on top of that, I added the which is called a color matcher, but it's from the red giant keying suite, which is pretty much the best king suite out there for after effects, it's got all these really cool elements. effects that allow you to match a green screen element to the background, but it also works great for matching renders to the background and then the other effect that I use all the time is the one that also comes from the red giant border blur.

Edge blur is great because it just blurs the edges of an object without blurring the inside of it, this basically matches the shot now obviously it's below me and nico so I literally pull out me and nico and boom look that look, we're on top of the world, so this is a real digital crop frame by frame, manual work from nico and me away from the footage, yeah, this is, this is pretty decent, it blends well enough to make it look like belongs there, it may not be a perfect photo, but Hey, the shot is 71 frames long, that's three seconds, so I get a lot of questions about whether color grading should be done before or after doing VFX and answer is always after, but once the shot is rendered, there's still one last thing you have. to do and that's put that rendered file back into the edit, which is what Clint was super in charge of this whole process while director Clint finishes this guys.

I really appreciate his interest in these tutorials and these effects, they take a lot of time. It took me a long time to figure out how to do it, although it's a lot of fun and it's a lot of fun to share with you how this process works. It means a lot and I really appreciate your guys' interest in this kind of stuff, yeah I hope they do. The boys like the video. It is a lot of work. If you're not subscribed, you should probably subscribe. I will give himgive Jake a little piece of his own safety medicine.

I just came out to take a phone call and I closed the door on him. You are not above the law, you have to give me that Squarespace information. You can get 10 off your first purchase by visiting squarespace.com. The runner's team takes a look. Welcome back. Forget it.