- Hi, this is Mary Poplin with Boris FX.
And today I'm going to show you how to do a really
quick tattoo remove, right on your talent in Premiere.
(upbeat music)
Removing objects like tattoos or logos,
is a pretty common task in post.
But most Adobe users think this can only be done
in after-effects.
Here, I will show you how complex object removal
can be done directly in Premiere,
with the Mocha Pro plug-in and a little help from Photoshop.
So let's get started.
We're going to go to our effects panel and type in 'MOCHA',
drag and drop Mocha Pro right onto our clip.
Once Mocha is on our clip, we can go to effects controls,
and launch Mocha directly from our timeline.
Please note that if you open Mocha and it looks like this,
you need to switch to the classic workflow.
The essentials workspace does not contain the remove module,
so you need to work in classic mode.
Since this reads directly from our timeline
we can work directly on our footage.
I'm going to zoom in and draw a shape
around this whole arm.
Just like this, and grab all of the tracking data
for this tattoo area and her arm.
It helps if you go a little bit outside the edges,
because then mocha can find the texture more easily.
Let's go ahead and track perspective.
Turn our surface to on.
And I want you to remember that the shape is where
the track is looking, and the surface tool is
what the track is doing.
Because we're tracking translation scale,
rotation, sheer, and perspective.
We'll get all of the data for how this moves,
even in Z space.
If I hit track backwards,
Mocha will follow the texture of her arm through the scene.
This is how we end up with accurate data.
Now there's a couple of different ways you could try to
solve this shot without using the remove.
You could try using a replace,
by creating a negative shape
with a Roto-mask, and then moving the background plate
around behind the object.
We actually don't want to do that, but we're going to do
instead is we're going to use the very powerful remove tool,
to replace this
tattoo with just a sort of image of the skin itself.
To do that we need an accurate track of what
the arm is doing.
The remove works with two different shapes.
You need a background track and a foreground shape
to define the object you want to remove.
The background track must be tracked,
but the remove shape can be something you hand animated,
or something that you linked to the background track,
which is what I'm going to show you here.
Now that our track is complete,
I'm going to call this 'Background'.
I'm going to turn the gear off,
cause we're no longer tracking it.
And I'm going to hide it.
With my X-Spline tool, I'm going to make a new shape,
right around the area that I want to track.
I do want to show you something though,
and that is the foreground shape
that I'm using for my remove.
And let's call this 'Remove', is going to have to
be inside of your background shape.
If it's not inside your background shape,
you will not get a successful remove.
So, background has to be bigger than your remove shape.
Now what's important to note here is that,
I don't have a track for this foreground shape.
So I'm going to go to link to track
and I'm going to link this to our background.
Now our shape is going to follow our tattoos
over time and that's good.
So now what I need to do is I need to find an area
where the tattoo is largest in frame,
least blurry, and closest to camera and
that's going to be my clean plate.
So I'm going to go over to my remove tool and
I'm going to hit create clean plate.
We're going to save our clean plate and
then inside of Photoshop, open our clean plate,
zoom in,
take our lasso tool,
draw a shape around our tattoos we want to remove,
go to edit, fill,
content, to where fill
and save our plate.
Back inside of Mocha,
we're going to use clean plates exclusively,
and you'll see that our clean plate is being
taken from frame 258.
This is important because frame 258,
has to be the frame that we use for our remove
or it will be offset by whatever the difference
in our frame numbers is, when we do our remove.
So what we're going to do is we're going to
use clean plates exclusively,
with Linear Illumination Modeling.
Illumination Modeling is important because it can match the
remove to the lighting of the shot.
So 'None' would be no Illumination modeling.
'Linear' is where it tries to raise and lower the value
of the entire shape and
'Interpolate' is where it tries to gradiate
lighting changes over the shape.
We're going to choose 'Linear'.
Interpolate can cause artifacts that are really helpful
for things like caustics,
but not so good for bare pieces of skin.
We're going to turn our overlays off and hit 'render'.
And we should get a beautiful remove throughout our shot.
I don't have to render everything inside of Mocha,
I can simply save and close.
And now right inside of Premiere,
I can go to module renders,
remove, and check our render box.
And we'll render our remove right back to our timeline.
So now I can apply my mask for the remove.
With the mask on and a little bit of edge feathering,
I can hide any sort of edges,
or other problems that my remove might encounter.
It just helps everything blend better back into the arm.
You could also use blurs and green matching to
hide any other errors that you might see.
And now all we have to do is render right back
to our timeline and our remove is done.
And just like that you can create a very simple remove,
right on your timeline inside of Premiere.
And of course you could use Mocha to replace this tattoo.
With that in mind enjoy this quick preview of using
Powermesh as an insert, which is going to be
part two of this tutorial coming soon.
If you have any questions, you can find us
on www.BORISFX.com, where you can find more information
on our forums, on free training, and our tutorials.