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FXPHD RTO 202 Tools of Roto and Paint
[Bild: b796ea59761587f5676f88f88a1e7127.jpg]
FXPHD RTO 202 Tools of Roto and Paint | 3.6 GB
A lot of focus is often placed on the tools we use for post-production work. The truth is, there is a good amount of crossover between applications when working on most projects. This course takes a deeper look at different techniques for common roto, matte creation and paint projects, using a range of applications. Our main toolset includes mocha and SilhouetteFX, but we also delve into compositing programs, Nuke and After Effects and 3D tracking.

The main focus is fundamental tricks for keeping your roto and matte creation fast and the results appropriate and accurate. The shots we are working on often require a holistic approach, blending some tough motion tracking, rotoscoping and paint. We start with beauty retouch and different rotoscoping techniques. As the course continues, we add some cleanplate creation and rig removal.

course syllabus
Class 1
Introduction to the Philosophy of Roto. It's important to establish the set of principles we will be working with throughout the course. What constitutes a "good roto"? What are the main tools and why do we favour a certain approach with some shots? In this session we will be creating rotoshapes to use for a beauty retouch session.

Class 2
Beauty retouch. Continuing from the last session, we put the shapes to use to do some beauty retouch work. We look at natural looking skin-smoothing techniques that do not compromise texture or create a plasticky surface. We repurpose last class's work to reshape the features of our subject.

Class 3
Dissecting a roto. Simple roto requires simple shapes. Complex roto requires lots of simple shapes! Managing these is a challenge and the basis for huge time-savings. We look at a mixture of soft and hard objects, and how to approach edge consistency, motion blur and out of focus elements.

Class 4
Building a depth map - rotoscoping buildings. Rotoscoping still objects should be easy. Camera movements, perspective changes and lens distortion all help to make these jobs harder. Again, planning and using the right tools to fix these problems, makes a painful shot a lot easier to handle.

Class 5
Car pack shot - Bringing things up a notch now and pushing our planar tracking forward. We've got a moving subject, a moving camera and a tight deadline. Where are the best places to spend our time tracking and at what point do we decide to get in to manual rotoscoping work? We also take a look at stabilization and how to effectively use it.

Class 6
Background enhancement. Following from the previous lesson, we look at 3D tracking and how this can speed up certain roto tasks. We also put these results together with the car shape to add more impact to an ordinary background.

Class 7
Background cleanup. This is another two-part lesson. In the first section we look at creating cleanplates, simple wire removal and some more complex motion tracking.

Class 8
Wire removal - Some wire removals are relatively straightforward. In this lesson we take a look at how to handle a wire removal through semi-transparent fabric, motion blur and hair. We start in NukeX and the Furnace Wire Removal effect to do the heavy lifting, before moving on to finessing the fine details.

Class 9
Cleanplates - In this lesson we discuss grain management strategies for cleanplates, including how to create a smooth cleanplate from noisy footage. The second half of the lesson looks at generating larger plates from B-roll video footage and when we can cheat a bit with rig removal.

Class 10
Procedural mattes, the shortcut to avoiding rotoscoping. In this session we finish off the shot from the previous lesson, improving on the track and bringing our character back over the removed rig. We explore different types of procedural mattes, including regular keyers and channel combinations. For the ultimate roto avoidance technique, we move back to SilhouetteFX and work quickly in the Power Matte node and see how easy it is to tweak the results in After Effects. To finish off the course, we take a final look at how frame-by-frame Paint is an unavoidable tool in some circumstances but how we limit its use.

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