- [Ben] Hello, my name is Ben Brownlee for Boris FX
and we're in Silhouette,
looking at how we can use Inpaint to remove a logo.
(techno music)
(logo whooshing)
Okay, this is the shot that we're gonna be working on.
And we have a rather large logo right here
that we want to get rid of.
And we're gonna use Inpaint to do it.
Now, if we look at the shot, the first thing
we need to do is actually remove some of this grain.
We have quite a grainy shot.
If I use Alt and RGB to go through here,
you can see we have a fair amount of noise in the image.
So we're gonna get rid of that.
And come into my nodes and I'm gonna go to grain
and I can use something simple
like Degrain just to get rid of it
or maybe use one of the newly included Sapphire filters
S_GrainRemove to do the job as well.
So I can come in and with my smooth,
just take my smooth down just a little bit there.
I even have different controls for smoothing out the luma.
I'll probably keep that actually where it was.
That was pretty good and smoothing out the chroma as well.
So we can dial with that in exactly where we need it to go.
So we wanna get rid of the grain
but we don't wanna get rid of any of the detail.
So we need to just be a little bit careful
about what we're doing.
We will be adding grain back in as well,
but just for now, it helps us get a nice cleaner image.
There we go, it's pretty good.
All right, so once we've got the GrainRemove done,
we're gonna come in and do the main work with Inpaint.
So if I apply my Inpaint node and we take a little look
at the tools on the top left hand side,
hopefully, these will seem rather familiar to you
because these are basically the same tools
that we work with when we're doing roto.
And it's the same sort of object list as well.
So I can come in and just add a new layer here.
I will call this one shirt.
Let Silhouette do most of the hard work for us
by tracking in this shirt.
Okay, so I'm gonna use an X-line
and just come in and make a shape
around about the front of his shirt.
There we go.
And you can see, as soon as I close that shape,
Inpaint is gonna want to do something.
And that's because if we look at the object parameters
over here, it's already got an algorithm running.
I can select this one on the dropdown menu.
Just say none instead.
And with this placed around about there,
I'll come into my tracker
and I can choose what tracker I'm gonna use.
Let's see what the Mocha tracker can do, play this forwards.
And because our shape is already in a layer,
all of the tracking data is gonna go directly
onto that layer.
And we'll track that one backwards
and that's looking pretty good.
Let's have a little look what that's doing.
So that's stabilize the viewer of around the shirt.
Yeah, it's gonna be pretty nice.
Like even though we've got a huge amount of motion blur,
the tracker has done a really nice job there.
Okay, so let's pause it
where we can see the logo the sharpest,
which is probably around about there.
And I'm gonna turn off the visibility on that spline.
Let's call this one shirt track
and I'll create another shape within my layer
and this one's gonna be around the logo
and let's be a little bit generous with
where it is there, lovely, okay.
So let's take a little look at what Inpaint is doing.
I'm gonna come over to my object parameters.
I'm not gonna go through all of the parameter settings here.
We'll just focus on the most important ones.
So we're gonna go with the algorithm we've got for us.
We've already had a look at this dropdown.
We can go none, we can go Clone
and Clone is gonna turn off all the other fun stuff
and only leave us with the transform
so that we can do a direct Clone
from a different part of the shot.
Don't really wanna do that.
So let's just reset that on there.
And then we can choose one of the other algorithms.
We can either choose NS or Telia.
We'll stick with NS for now.
And I'm gonna turn my edge softness all the way down to zero
and I'll turn the overlays off as well
so we can see what's going on here.
So what Inpaint does it sort of intelligently brings
in pixels from the surrounding areas of the shape.
And if I turn my smoothness down,
you can start to see how it's doing that a little bit more.
So the first thing we we want to do is
we want to find a good balance
with the smoothness and the edge softness.
So I'm gonna bring my smoothness up just a little bit just
to try and get away from some of that sharp edge there.
So it doesn't have to be very high
and I can also use an edge softness to come in
and try to soften the edge out a little bit.
And that's looking pretty good.
So let's play that back.
And because we got this stabilized up,
I really don't have to do much more,
let's unstabilize it or destabilize it.
And that's looking pretty good.
Now, just to show you, one of the things you might get
if your edge softness is set up a bit too high
or if your shape is a little bit too large,
you might start to see areas just sort of popping in
from the surrounding pixels.
And that's not particularly great.
So what you would do there is you would just bring in
and adjust things so that we are not collecting in pixels
from the opposite area.
So whether that's just by animating the shape in
or by key framing, the smoothness and edge softness
that's something that you'll learn how to do.
And the same here,
we've got just a little bit sort of popping in there.
So I'm just gonna move that just a few pixels just
so we don't have that pop of color coming in.
I think the result was pretty good even before
we did anything with these animated shapes.
So now we've got our logo already done
but I wanna show you another couple of things
while we're here.
I'm gonna rename that there to logo
and I'm gonna just lock that
'cause I'm happy with how it worked.
Another thing we can do with Inpaint is to work
with Open Splines.
So if I bring in a spline here and hit Escape,
I'll come in with my arm
and just reshape that, offer reshape.
If I turn off my overlays,
you can see it's not doing anything yet, obviously.
So if we come over to the object properties
and I changed my stroke width up a little bit
so it actually has a little bit of heft to it,
you can see is now gonna be doing something.
My smoothness and my edge softness are rather large
so they're basically counteracting all
of the stuff that was happening
so I can try and smooth this out.
But we end up just getting a little bit of a zigzag there.
And that's maybe not particularly bad
where a shot's moving as fast as this is,
but we can try and do something else here as well.
We can also do things like stretch.
So stretch will stretch out those pixels a bit more.
Let's kind of smooth this up a little bit.
I'm gonna make this a little bit extreme
so we can see what's going on.
And I can offset that either left or right.
So we can see which side it's going to be stretching from.
I can even change my angle as well.
So if we set that to around about 90 ish,
you can see it's gonna be stretching more
in the vertical direction.
And I've even got an independent smoothness for the stretch.
If I set that down to zero
you can see where the stretching is happening there.
So this is quite nice
if we're working with either a fold in clothes
or even certain wire or skin,
stretch can come in and actually help us out
in a different way.
So let's bring this in there.
So what it's doing is it's trying to cover up that area
in a slightly different way.
So let's zoom out, give that a quick playback,
see if that needs anything else.
There we go, might need a little bit more care
but I think that's looking all right.
Now, the last thing I wanna show you
with Inpaint is the detail.
And let's see if I can grab this here, there we go.
So, if I come in and let's do an area,
there's a big area there, it's a very big area.
It's a lot of creases to get rid of.
There we go.
All right, so the only thing that I can,
if I bring the smoothness
and the edge softness down here,
we can still see that this area kinda falls out a little bit
and that's because we've kind of wiped out a lot
of the detail that's going on within here.
But no fear, we actually have a detail section
in our parameters and with the detail parameter
we can either look at the source clip.
So our main input, or we can pipe in another clip
into our node, into the detail.
So now I'm just gonna leave this with the input.
Let's turn our overlays back on.
And this is the second part
of where the transform would come in useful.
The first part, obviously we saw
when we were looking at the clone, we can come in
and we can choose where we're gonna be looking
for our detail.
So I'm just gonna do a very, very quick offset.
For this particular example
I'm not gonna go too deep into it.
So once we've got the offset worked out,
I can now turn up the amount,
let's turn my overlays off for a second,
I'll turn up the amount here.
And you see that's gonna bring in more details,
turn it all the way up.
And we've got an amount which is obviously
how much detail we're bringing back in.
And we have a level as well
and this level tells us what type
of detail we're bringing in.
And it goes between zero and one.
At one it's gonna bring in high frequency data.
So this is gonna be useful
for things like matching grain, matching skin textures.
If we go all the way down to zero,
this is gonna be like the low frequency detail.
And this is actually gonna often be a bit better
and we're just trying to bring in a little bit more
of that sort of frequency into clothes
or where we're trying to just hide the fact
that there is just a flat area of color,
not completely flat but you know, flattish.
And if we're in the middle,
then these are the mid tones.
So we've got the high frequency at one,
low frequency at zero,
and then in between those other values.
And if I this around, you can see if I move up too high,
you can actually see the hello,
you see his face just in there, there we go.
So you can see what it's doing.
It's not bringing in the color information,
it's bringing in that detail information.
So if you've worked with Silhouette in the past
and you've worked Inpaint
using the color detail separation mode,
then you'll be very familiar with what this is doing
and how this is working.
We've add softness in there
so we got rid of the wrinkles
but we haven't just left it with a completely flat texture.
Let's have a look.
I wonder if this is going to work out precisely
because of the way that things are twisting around.
It's probably not gonna work out precisely.
So we would have to do something more with this one
if we were doing this for real.
We've actually done what we set out to do.
We set out to get rid of the logo.
And along the way, we learned a little bit more
about Inpaint and the only other thing that we need to do
at the end of the shot to make it look right again is
to bring in some of that at grain one more time.
So we can do this in a number of different ways.
We do have many filters that are dealing with grain.
We just call Degrain, Grain, Grain Composite,
S_Grain for the Sapphire Grain.
You know, we just stick on a grain there,
we have a look at one of the presets
that matches pretty much where we're at before.
Maybe something like this and tweak this up.
We could get a little bit more scientific
and actually A/B it
and try and match it to the original grain.
But that's good enough for jazz.
The use of grain here as well,
helps to hide any of the scenes
or sort of over blurring as well.
Not that we had any of that in this particular case
but that's just a nice little workflow tip for you.
So that was removing a logo with Inpaint.
My name is Ben Brownlee for Boris FX
and I will see you in another Silhouette tutorial
very, very soon.
If you enjoyed this look at Silhouette
and you would like to learn more,
then head on over to borisfx.com
where you'll find hours of silhouette,
Sapphire and Continuum tutorials.
You'll also be able to download free trials
of any product that takes your fancy.
(gentle upbeat music)