Hey! Let's animate some photos!
[singing] Moovieboy! dah-dah-dah-dah!
Ha ha h ha, hey! Moovieboy here! Value statement value statement,
Call-to-action, call-to-action, tagline! You didn't come here to hear me prattle on
Did you? You came here to do stuff like this:
Oooooooh! So, let's go!
The photos I'm going to be working with are part of the movie I worked on last year,
The Remarkable life of John Weld. The issue with documentaries like this one is that
typically you are in a lack of actual video or film footage especially in
historical documentaries. So they bring in people like me to spruce up the
photos they do have on hand. Whether it's adding color, dimension or movement.
It doesn't matter whether you're working on a photo from a hundred years ago or
something you took yesterday the same concepts are generally the same. Step one
I show you two fingers. Step one is of course to find a photo
which sounds obvious but it's meant that you need to look for a photo that looks
like something you can separate items in the foreground and background and create
a camera move through it. Any photo is not going to work for this. Step two is
you're going to take that photo and separate your foreground object from
your background object or other layers of objects if you have stuff that's even
closer or mid-ground objects in the camera. Step two point five?
After you've separated them then you need to clean up the areas behind your foreground so
you're gonna have to clean up your background.
Step three is you will have to take your elements and bring them into a
compositing program like After Effects. And step four, you will have to add some
kind of camera movement to add depth and animation to that original photo. Tadah!
So let's go! We have a photo of Pancho Barnes, one of the early aviators in... Wow
Speaking of aviators, living near an airport
[airplane roars overhead]
you get a lot of airplanes. So, speaking of airplanes, Pancho Barnes is an early
female aviator in America's history. Unfortunately not as famous as
Amelia Earhart but she's in there. Real straightforward. Camera comes in
we are just closing in on the foreground objects, our humans here and the plane in
the background are just a simple background. Now of course if you notice
in this one their feet are sliding a little bit but that wasn't a big deal at
that time. So here we are with the original photo and it was you know
pretty simple when it comes down to it. You've got your original and then using
various masking techniques we cut out our group here a lot of it was just some
of the masking techniques that I teach in other videos which I think I will
indicate here! Good grief!
Everyone's trying to fly at the same time. Just stop!
Stop it! Planes!
The next big problem is you're gonna have to
clean up the background behind it. You have to in this case remove these people
because your camera move is going to eventually expose the original
foreground objects still glued to the background image. You have to clean it up
and in this case you have to use every technique in the book. Now one of the big
ones is one of my more popular videos showing how to heal backgrounds in images.
That'll work a bit for simpler backgrounds ones where you can use the
content-aware fill to easily fill the background area here. To give you an idea
of what you need to do: Create a new layer. Call it in this case we're going
to you know call it "cloner" and we know we've we've already securely
have our people separated so we don't have to worry about damaging anything. So, on
the cloner layer you can go over here to our stamp tool right there or we can hit
the hotkey s to bring it out. We'll take maybe this part of it here
come on down here. You know see how it starts to ghost and that'll give you an idea
of whether you've lined it up properly or if you're off or not and when you
think you've got it start painting it in. And now see obviously you can see we are
grabbing from here and pulling down this part of the wing here so you got to be
careful how you're doing it and you're gonna have to do all kinds of stuff because
obviously we have this one here. We've got stuff there now of course you can
clone off of other objects. Sometimes it whelp.. nope the angle on this is too
sharp. It'll it'll Bend like crazy. So this is gonna be a lot more problematic.
So maybe I just want to focus on
cloning him out right there You will have times where you have so little
information to work off. You're just gonna have to do it piece by piec.
The good news is in this case and we'll start right here before it starts
intersecting with this plane here. So you can already see how it's so maybe we
just add a little and then we just add a little more and we add a little more but
now we got this longer piece so now... whoop... now
we've got something that works far better. Now, this is still roughing it.
You can see some blending problems like what I just did there. That is the grunt work
of this when you've got something as complex as an old biplane hidden behind people.
But that's what they pay you for these projects or at least that's what
you better be getting paid for. Alright so obviously you use cloning. I was using
cloning on different parts of the engine here to stretch things out. So whether
it's more of the engine to remove this guy. Whether it's deepening this shadow
to remove this guy, you just start from one end to the other work on cloning
techniques, matching techniques everything you can to get these people out.
So that eventually, ladies and gentlemen, you get to something more like this.
And this was enough for the shot. Don't waste your time doing work you're not going to see.
But eventually you're going to need to save a new Photoshop file with the
clean layers so that every little cloner and stamp piece isn't separated out.
You want things to move more simply. I've got my foreground, I've got my background and
I still have the original and I'll show you why you may want to keep an original photo.
And we will save this out. I've already saved mine out of course but
save it as a new, clean version or...
[another plane overhead]
[Seinfeld voice] What's the deal what the airport?
Could I get any more white?
We flip over into After Effects
Let's make a new composition and
we'll just call it tutorial and we will make it... eh, we'll just make it
seven seconds. It's already there.
[dog barks]
And now the dogs, the neighborhood dogs are going in. So if we want to bring in our
[another bark]
pfffttt, really? The dogs, they be a barking. Let's import the Photoshop file that we
have here now we need to import it in as a composition and I typically like to
retain layer sizes on mine just so that it brings in the crops on each piece as
it's separated out. So you're not always working from the full comp size for every layer.
Like for example the foreground people will come in cropped around where they are,
not necessarily at the widest point of the thing. So just bring them on in
You want editable layer styles usually cuz yeah if you merge it all together then what
was the point of having a Photoshop file in the first place? This composition is at you
know fifty six hundred pixels by you know almost forty three hundred pixels
even though eventually this is going down to HD level you do not want to cut
down your layers ahead of time to say a HD or a 4k resolution the reason being
that you need every one of those pixels to have the camera move around and you
start cropping all that down you're going to shoot yourself in the foot when
you start to want to wander away from it so we've got this large version at its
original scale and you can see original background foreground one of the first
things we're going to have to do is to turn these 2d elements into 3d elements
and the easy way to do that is just to select your foreground select your
background make the most 3d we need to also add a camera new camera
the whole way of selling the depth between these flat 2d elements is to
work off of something called parallax the whole idea of parallax is just the
way your foreground elements shift differently than background elements
when you are zooming in or zooming past something the easiest way to see this is
to take your thumb hold it up like this and close one eye if you suddenly go for
one eye to the other you'll notice you're a thumb moving around
despite the background basically being the same that's because in its own way
your binocular vision camera went from here to there and just that little bit
of movement had a big movement there this is the same thing you want to take
advantage of in your camera movements with your virtual cameras in After
Effects or other compositing programs something to keep in mind is that a
wide-angle lens will exaggerate this movement far more than a say a telephoto
lens in general terms your eyeball is in the range of 50 millimeters if it were a
camera lens so anything less than 50 millimeters is generally considered
wide-angle lens and anything deeper is considered a zoom well not a zoom a
telephoto lens so in my case I'm going to choose a 35 millimeter lens and I'm
not gonna worry about depth of field right now we have our camera and we have
our layers but we need to separate them out in this case I would like to take my
background layer and push it further away now I'm going to turn off the
original real quick here and we can hit the P key to bring up our position so
let's start moving this back Oh fantastic
but you'll note that yeah it's further behind but now we have a slight issue of
it an issue of shrinkage to help us realign the background let's turn on
that original which is on a 2d layer so we see how big this needs to be
let's hit the T key I'm going to hold down the shift key to bring up the T the
opacity the opacity yeah that's the things you do to remember it and let's
bring the opacity down and then I'm gonna hold down the shift key again hit
s for scale and I see that I'm at 100% I need to scale this back up
and there we go now things are appear to be better aligned so let's bring that
opacity back up airplane airplane airplane airplane airplane airplane
airplane airplane airplane airplane airplane bleh bleh bleh bleh bleh bleh
bleh made me tear up the right dude stuff they don't care they don't care
they just don't okay so we can turn off that original layer and now let's see
what we've got here let's go from the active camera or a camera one here in
this case I want to go to a custom view and I'm going to hit the C key or we can
just go up here and grab your camera and I'm just going to rotate around to show
you what we've got here we have our human beings we have our airplane and
we've got our little pink camera over here that's our official one so let's go
back to our active camera get a position here and maybe a rotation here as well I
hit the P key for position then I held on the shift key and hit R so that yeah
I know I'm still helping out the beginners so all you pros hush so I'm
going to set a keyframe for my position I'm gonna set a keyframe for my
orientation and I'm gonna move five seconds in you can either go up here to
choose different cameras if you need to work your way in different movements or
you can just keep hitting the C key and it will rotate so we'll go over here
rotate between the various axes or rotation cameras and in this case I want
to just do a simple zoom so I'm five in I've got my orientation my position and
I'm just going to zoom on in will just do it you know real easy-peasy
and maybe I actually want to be a little higher so I'm going to hit see a few
times and go up here like this
and I'm going to test that out so I'm just going to hit the end key to end
this work area right here and I'm gonna hit the spacebar to go for a preview
alright and we have a pretty standard uh movement basically just zooming in and
repositioning a little bit now in our example here yes their feet are slipping
a little bit there are more advanced techniques we'll
go into some more go on to others but this this thing can get lengthy lengthy
lengthy if we tried to deal with every possible thing that can happen is your
camera movement goes now if we wanted to of course we could go really intense in
this nope see right there that that's problem we're starting to run out of
photo and then maybe we zoom in even more and just really come in on to
poncho here I'm fidgeting I dude that stuff you know so we'll hit the spacebar
again and magic will happen now we have a far more dramatic shot as we come in
on poncho and the plane and is very exaggerated and far better than just
looking at a static photo ooh and as you can see the same process
is done over and over again here we have this original photo of John and Kate out
golfing so I used the different techniques like in my other videos of
fixing backgrounds to bring in elements of the hillside and the trees and as you
can see real real tough job there on that one whoo-hoo in this case
things got a little more tricky because uh no amount of cloning techniques or
whatnot was going to give me the front end of this car so I started going
through and trying to find other photos of cars and eventually came across this
one here brought that into Photoshop just fused on the front of a different
car that I could to match things up as best as I could and then of course cut
out John and Kate as simple as this one looks there is there there is a twist
point here and that is quite simply that this ground here actually extends all
the way from underneath their feet all the way to the top and we were talking
about how the pancha photo the feet were starting to slip because they didn't
look really locked down to that space so the advanced technique were using here
is that I actually built this background here as a vanishing point object I have
a whole tutorial showing you how to do fancy schmancy dimensionalizing of his
that a word I believe it is of dimensionalizing your background images
because sometimes you're gonna need things to be broken out in a way you
can't just do by cutting off two-dimensional flat screens sometimes
you have building corners or in this case the horizon of where the ground
they're standing on goes from the car to their feet so we're going to skip over
how we built this and did this in go watch the other tutorial to look up that
advanced technique so in the meantime at least we'll show you kind of what was
done so let's go from the active camera I have here from camera three to this
custom view and there we go again bring up a camera here
now from this angle the ground looks really stretched out because it is
actually being projected from a plane and the background and open and there we
go let's carefully add them in so there
there's our humans are our flat foreground element but the act the back
the a crowned the a crowned the background is actually stretched out so
that from the cameras point of view things look hunky-dory now when you do
this your camera is in some ways freed up because you actually have some
dimension there but at the same time as you saw in the other view things can
look really stretched really fast depending on where your camera goes in
this case when you hit the space bar I remembered at this time when you hit the
space bar you will eventually end up with this thing now the other thing I
like about it is that the parallax is helped out I've got the camera moving up
away from the grass and the fact that it's an actual dimension layer helps
sell the effect and another example of how we can bring in some movement into
our photos you know something this is getting too long to fit into just one
little video so sorry folks I'm gonna have to make a part two cuz we've just
got so much stuff here well then that means I'm gonna have to do a quick one
from the vaults or one from the shelves and in this case it's going to be this
it is a Starship Troopers bug I don't even know where I got it I don't even
know how long ago I've had it now but I've had it for quite a while so that's
my Starship Troopers bug uh if there was anything that was too confusing anything
that just didn't work for you or you just need more explanation or there's
something you want to add it on to this let me know down in the comments and in
the meantime like subscribe share ring the bell for knows
oh that's loud okay ah that's it for now thank you and
come again
For more infomation >> 8b Waiter Boy Escape walkthrough 8bGames. - Duration: 5:07. 
For more infomation >> LIVE: SpaceX Attempts To Launch 5 Satellites - May 22, 2018 | CNBC - Duration: 1:08:21. 
For more infomation >> Catalina Saison 2 Épisode 6 - Duration: 23:51. 
For more infomation >> "Tağı Əhmədovu əvəzləyən sədrin 8 milyonluq yeyintisi","1 ildir qazsız qalan şəhid ailəsi" - Duration: 4:58. 
For more infomation >> 달걀 신선도 테스트 하는 방법 3가지 ► Good Morning ► https://goo.gl/eSBPMk - Duration: 3:15. 
For more infomation >> Cheese Dough Hearts - Duration: 1:56. 
For more infomation >> حظك اليوم الاربعاء 23-05-2018 فى التوقعات اليومية للابراج بقلم عالمة الفلك د. نيفين ابو شالة - Duration: 7:48. 
For more infomation >> Impardonnable Épisode 100 - Duration: 18:24. 
For more infomation >> Deception 1x12 Promo "Code Act" + 1x13 "Transposition" Series Finale (SUB ITA) - Duration: 0:29. 
Không có nhận xét nào:
Đăng nhận xét