![]() If you re-shoot, don't draw veins on your actor. You need a lot better control over your lighting if you are going to easily pull a good matte from greenscreen footage. I'm even a little pessimistic about pulling a good key of the background because of the spill and the shadows. I would be very surprised if you can pull a decent key from the veins unless the original footage is a lot higher quality than the screenshot. There is a lot of green spill and the green lines are not a very consistent color. I downloaded your screenshot and took a careful look at the footage. Add the new background to the bottom of the layer stack.Drag the second copy of the keyed footage above the Veins layer and use that as an alpha track matte to get rid of the temp background on the veins layer.Add a colored solid or animated gradient below the Veins layer to give you the effect you want.Use whatever combination of color correction and keying software you can find to key out just the veins in the pre-comp.Select the solid and the top copy of the footage and pre-compose - name the pre-comp Veins.Add a solid and put that below the top copy of the keyed footage.Generate the best key you can around the outside of your actor leaving the green veins on the body.Find Inside Mask in the Keylight settings about 3/4 of the way down the ECP and set it to use Mask 1.Add Keylight to the footage and fine tune the settings to pull the cleanest key you can.Animate the mask using as few keyframes as you can as the camera or the actor moves.Draw a simple mask around the outside of the torso of your actor that includes all of the green lines that have been drawn on the actor.Put your original footage trimmed to the in and out points you will use in the final edit plus about 20 frames on each end (handles) so you are not processing footage you will never use.Copy that corner pin data to a solid layer? Since there is so many veins it would be quite time consuming to go in with the bezier spline tool and mask out each individual vein right? So when I comp it in do you mean creating a new solid layer with the veins and then precomping it then duplicating it and changing the the track matte to alpha matte? So, basically what you're saying is I need to track the arm/body (basically where ever I want the veins to go) in mocha and use that tracking data and parent it to a null? Could I also track the veins separately in Mocha and then align that layer to the surface. ![]() Please let me know if I have this correct. I thought the veins would be easier to track if already drawn in but now I realize it wasn't necessary. 2.) I can see why you are confused by the drawing of the veins. I also edited the clips from a sequence from premiere and trim composed them into AE for a faster workflow because I have about 35 different clips that needed to be keyed out. To answer your question, I used Keylight 1.2 to key out the actor. The shots below required detailed modeling to replace the actress but veins and Particles and blood in AE The 2nd entailed 3D modeling and rotoscoping but the veins, particles, glow and most of the blood and Vfx were done in AE I have watered down the workflow to make it as simple as possible as I don't want to go into too much detail. If theres no perspective or shear I will go with a straight Motion Track in Mocha.Ĭolor correction, curves, levels, hue/sat, some gaussian blur or camera blur and we are almost at the point of getting to the desired effect. Might or might not use a 3D track dependent on axis movement of camera. I might do 3-4 layers of these as depth passes depending on the complexity and budget.This would be precomped together with the original veins layer. I would then bevel the edges slightly and add a few more slight adjustments to give the veins depth. Going a step further I would duplicate the veins layer before using write-on or a mask and would bring in a flat texture or create one on a solid layer to use as a texture matte for the 2nd veins layers. A simple effect like a write-on would be used to create the illusion of "growing veins". The veins would then be parented to the null from the motion track (which was almost always done in Mocha Pro) and then comped in. ![]() Motion track his/her arm or whichever part the veins were to be used on. Then draw out the veins in Illustrator or even in AE as a separate layer. On shots I've worked on and in which I only used AE (small to medium budget) I would key out the background. Perhaps you have confused tracking dots (like those used in Mocaps) with drawing lines/veins? You are venturing into the territory of practical special effects here. What were you hoping to achieve by painting green lines on the actor? This is the part that's somewhat confusing to me. You painted green veins on the actor and then keyed the actor out?Ģ.
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