- [Instructor] Hi,
I'm Mary Poplin with Boris FX.
In this tutorial,
I'm going to show you how I used Mocha Pro
in combination with After Effects and Photoshop
to replace the background in this shot
with a more dynamic, matte painting.
I used Mocha Pro multiple times.
I used the planar tracking for the difficult movement
of the shot,
and then I used the mega plate module
to create a larger than raster back plate
for the sky,
and Magnetics Blind Tools
to speed up some roto work.
I used mega plates for the shot
instead of creating a matte painting from scratch,
because I wanted to know where to place the mountains
in the background
and how to properly scale the clouds and set.
(upbeat music)
I'm going to show you how to do this in Adobe After Effects
but you can do this in any host that supports Mocha Pro.
It's easier if you do this in a compositing package,
rather than an editing package.
The first thing we're going to do
is apply Mocha to our footage.
Notice that our footage is trimmed
to the size of our comp.
You don't wanna be working on footage that is
several thousand frames long.
Treat a shot like a contained problem to solve
and you'll have a lot easier time.
I'm going to go to Effect,
Boris FX Mocha and Mocha Pro,
and apply Mocha Pro to my shot.
Once I launch Mocha Pro,
Mocha will read from my timeline.
Meaning it takes the footage directly from After Effects
and loads it into the Mocha Pro plugin.
Let's play this
and try to find a good place to track.
If you look,
you can see that we've got ships in the foreground
and a lot of motion blur
and zooming in and out in our shot.
This is kind of a problem because you wanna make sure
in Mocha that you track from areas
of the largest amount of detail
to the least amount of detail.
Well luckily,
I actually have some pretty good details to track.
I'm going to use my X Spline Tool
and I'm going to start tracking this mountain here.
I can use the add to X spline tool
and anchor
some of the ground over here.
Now I can use this to track the background.
We'll call this BG Track
and we will track translation, scale and rotation only.
When I hit track backwards,
I can turn my surface tool on
to make sure that my track is correct.
Notice how I avoided the ship rope
to make sure that it didn't interrupt my mountain track.
And since we've tracked from areas of the most detailed to
least detail,
even when we zoomed out,
we were still able to keep a pretty accurate track.
Once my track is complete,
I can use this BG track to drive other roto shapes.
In this case,
we're going to find the most zoomed out part of our shot,
and we'll draw a big shape for our background.
We'll call this matte painting
and we're going to link it to our BG track.
I'll correct some of our roto
and now I can use this as my mega plate template.
I'll click on my Matte Pending Layer
and head over to Mega Plates,
selecting a frame that's nice and central
we'll hit the Render button
and our default settings should work just fine.
Now, Mocha has created a mega plate that I can paint.
Let's hit Create,
and we can save our mega plate.
Let's save and close Mocha.
And for good measure,
let's save our After Effects file.
And we're going to open Photoshop.
Once inside of Photoshop,
I can start cleaning up this painting.
I can use the Clone Tool
to extend the mountain.
This clip is HD resolution.
The mega plate process uses the planar tracking data
and the available pixels
to generate a larger than raster frame that
I can use for matte painting.
This is handy
because everything stays the proper resolution.
Mega plates were not strictly necessary for this shot,
but they helped considerably for layout.
If you want to learn more in depth about mega plates,
you can check out the video in the description.
The ocean doesn't have to be perfect.
Neither does the sky
because I'm going to be doing a lot of painting.
We can use Content Aware Fill
to get rid of as much as possible.
And if that doesn't look very nice,
we can always come in with a straight up paintbrush
and paint everything out
for a small pieces to remove
like this rope
content aware fill should give much better results
and where results are less than perfect.
We can always just paint.
I can use the Smudge Tool work on these hills back here.
It's not important that it'd be perfect,
but it is important that there be no more ships.
Once I've completed my base painting,
I can start painting on top.
In this case,
I'm going to start putting some clouds in.
I can even start to blend clouds back into my scene
so,
I can make this matte painting as complex
or as simple as I'd like.
Ultimately I ended up erasing the ocean entirely
and just making a map painting
that ended up looking like this.
We're going to flatten this image.
And the reason I ultimately decided to get rid of
everything, including the mountain,
the ocean, and the ships
was because this will blend back in better in my comp.
Back in After Effects,
I'll import my matte painting
and drag it into my comp.
If you've watched my other tutorials,
then you know that you can apply a corner pin to this
and pre-comp your mega plate
and make everything
fit together instead of After Effects.
But I actually want to use the Mocha pro
insert module for this.
And the reason I want to do that is because
I can see
right in my screen, how this is going to blend together.
So under module renders,
I'm going to select Insert Layer mega plate.
I'm going to select Insert, Cut Out.
I'm going to duplicate the layers that I have a nice clean
background that I can remove Mocha Pro from,
and then keep my Mocha Pro plugin on the top layer.
I'm going to launch Mocha.
I'm going to select my matte painting layer
and use my insert clip
set to my insert layer,
to bring my matte painting back into the scene.
Let's use our surface tool to align our matte painting
properly into our scene.
If I go to my insert module,
I can actually use my blending modes
to see how this is going to blend back into my scene.
Now that looks about right
under my Masks.
I can use my matte for mat painting
and mask my insert.
I can even use the Uber key
and feather this right back into my scene
using the Pick Edge Tool
to blend everything back in.
Now, when I save and close Mocha
and check the render checkbox
and use Insert Composite,
I can see my blending mode rendered right back into my
scene.
If I use Insert Cut Out,
I'll have to apply the blending mode inside
of After Effects
and the results look the same.
I can also use the Motion Blur Checkbox
in the insert module
to apply motion blurred my matte painting.
So now when I save and close
motion blur gets applied to my matte painting as well.
Now there are some problems here.
I need to be able to mask out my ship.
If I duplicate my bottom layer
and bring it to the top,
I can see there's a lot of keyable information here.
I'm going to use BCC Primatte Studio
to pull a quick key.
This doesn't need to be a perfect solution.
And a Luma key with some edge feathering
would also do the job in this case,
but I still need to worry about the mountain definition
and a little bit of details here around the mist.
So let's use my magnetics blind tool
and define my mountains a little bit
and let's link it to our BG track.
Now we can save and close
and we can apply our mat.
We can add some feathering
and our blending is starting to look pretty good
to really sell the effect.
I'm going to add some birds
as a moving element that I brought back in
to our scene using a corner pin right out of Mocha.
And I'm also going to adjust the color
by using a fast film process
from the Continuum Tools
to add a final touch.
I used Sapphires Chromatic Aberrations
to produce a subtle but more realistic film look
to the composite.
So here's our before
and here's our after.
Now obviously I didn't show you
every single nitty gritty step in here.
When you're done,
you can add any color corrections and render
and you can take a shot that is kind of plain
and turn it into something completely magical looking.
If you have any questions,
please go to www.borisfx.com,
where you can find forums,
free training and so much more.