Transcripts
1. Introduction: Hey, welcome to my course. In this course, I'm
going to show you how to do camera tagging with
a pinch of nostalgia. Well, we all have
played this game, and it was most wanted
in our childhood. And the car, you know, it was so memorable. And we are going to use
that car in our footage. We'll make it look as if it's
right in front of our eyes. And trust me, it's going
to be really great. It's a miniseries, so you don't have to spend
a lot of time. You will learn camera tagging
very easily. So let's be.
2. Start Your Project – Setting Up in Blender: Okay, so first thing
which you need to do is open blender and create a new project and then delete everything and save a project. And I already have a folder. I'm going to name this
project as NFS star sis. Just click on the plus icon and open the motion dragging tab. Before moving,
I'll just tell you what you need in this section. You will have to shoot
your own footage. I'll just show you mine.
This is my footage. And if you see, there's not any, you know, uh, shaky
movement in the clip. It's because I've
used a mode called stabilization or
let's say stabilize. I don't actually. So my
phone as this feature, if you just, you know,
turn on this feature, it will remove any shaky movements or
something like that, and it will give you a
proper stable footage. So when you're
doing camo digging, this is a very important
set because it helps you, you know, w camo
tagging blend up. And this way we can easily
camera tag this footage. So keep this in mind, you have to turn on the stabilized mode or
stabilization mode. I don't know the
exact name, but if you just go in your
phone's camera, you might find it if you have
this feature in your phone. So just make sure you just
turn on that feature. And then shoot your footage
and then open it in blender. This footage, you know, is shot like in deported
mode like vertically. So if you import it,
it will be like this. And I can just, you
know, camera like this. So what you have to do
is just click on this, you know, cross butter
and just remove it. Then make sure you are
just saving the project, then create a new project. But this time, just
click on Video dit, and then click on add
and click on movie. And open your footage. So for me, this is my footage. And first, just make sure the color management is set to stand in the
output properties, you just have to, you know,
exchange these values. So first, make it 1080, then make this 121920.
So now you have this. So you just have to now
rotate this, and to do that, click on this transform, then go to rotation and make it minus nine and you're done. I'm not going to use
the whole footage. I just want, you know,
total 200 frames. So I'm going to make
the end frame 200. And if you are, you know, exporting it like 30, 30 frames per second, it will give us six at least
it will give us 6 seconds. And we can Godle seven, but I think 6 seconds is fine. It's more than six actually.
So I think it is fine. So then you just
have to export it as video and then open your new project which
we have just created. This one. Now you can
just input that footage. So we have this nice
footage ladder. Now we can start
camera taking it.
3. Track Like a Pro – How to Capture Camera Movement: So go to Freeman, and then let's find a
high contrast point. And let's say we
can use this one. So click on add
and click on this. And if you plassO plus S, you will find this, you
know, the search area box. Just make sure it has enough
space and this Brito carat. Let's just use this feature
called TTchFeatures. But before that, change
the motion model to FM and the match, make it to previous boom, then click on normalize. And the reason for choosing
affine is because, you know, there are a lot of
options right here, and the affine is, you know, usually the best
for camera tracking because if you
have this footage, because in my footage, if you can see, you know, my camera is rotating like this. So the shape of this tracking
marker will also change. So the affine model helps
usually in every cases, go to Frame one and click
on detect features there. Make the distance to ED and
threshold 20.0 quality. I think it is too much, but I think it is fine. Let's just track ahead it will show us a
lot of bad markers, and that is completely fine. So when you just try
for the first time, just dslide all the markers. Then again, click
on detect features. Then the values will be copied, again, from the last markers. So just track backwards now. Now go to frame hundred, again, Dislect all the markers, click again on detect features. Then track backwards.
Then again, go to free hundred
track forward. And I know there are
a lot of bad markers, and we can easily solve that.
4. Solving the Camera Motion – Achieve Accurate Tracking: So if you play the footage, there are some good markers
and some bad ones too. So we have to first delete
all the bad markers. So there's drag its like this, and manually just
delete a few markers, which you think is, you know, stretching a bit more
than the other one. Just delete time. And it's fine if you don't want to do it, we can anyway going
to solve this tab, on focal at optical
center radial distortion. And let's find a point which
has a lot of movement. So I think I'm going to go for 57 or maybe I think 57 is fine. And then we can select 172. It might be different
for you if you're using a different clip and just
clkonFals camera motion. Now we have a lot of markers, so it will take some time. The sol error is
but punt y three, we need to now
derate some markers, Spaw that, go to cleanup, then click on clean tracks. Make sure you haven't
selected any markers here. Then, you know,
slightly just increase the value of the
reprojection error and at deal with
all these markers. And then let's again solve it. So the solve was 1.23. Now let's see what we get, and it should be less
than the last one. So it is 1.00. We can again clean markers. This time we can just delete a lot of bad markers like this. Now we can again
solve camera motion. Okay, we've got 0.21. Okay. It is okay, I think. But let's just clean
tracks just slightly. Again, solve camera motion. So we got 0.18 like 0.8,
and I think it is fine.
5. Setting Up the Scene for Realism: Now what we can do is just click on set us background
and set up tracking cell. Now we need to create a floor. So for that, just select
three markers like this and licon flowed. And I know the size
will be too much. So now select any two markers. Let's say we select
these two markers and increase the distance
and click on Setsquae. Okay, there is a
mistake idea because, you know, our footage is completely stretched
and we don't want that. So for that, just again, make this tent and make this 19. Now as you see, it
is looking fine. So the camera tugging is
actually nice, if you see. The floor is also properly set. We can change the
origin if, let's say, I want my you know, because we are going to put our, you know, NFS car right here. Let's say we select this
one and click on CIO. And now if we place a car here, it will drive properly. And now for that, what we need to do is
just delete everything, this floor, this cube,
and also the light. Now we can import
our car modern. I'll just show you
how to do that. So first, open sketch
star and search for a PMW M three GTR. And here you go. There
are a lot of models, and you can download any one. And actually, there
are a lot of models. There are different
texts for that. I mean, if you see this one, this looks really clean. If this one, this
looks a bit dirty, from the bottom side. You can use anyone if you like, and I already have one, and I have downloaded it as
GLB them input it as GLB, and here it is. I'm going to increase
the size then rotate it like this, increase the size. So if you see for a second, it actually looks like
as if it's actually, you know, place right here. If we just, you know,
get out of the camera, we can see the camera moving just like I have shot my
footage from my phone. So this part is done. Now we can create the
shadow catcher for this.
6. Using Shadow Catchers & HDRI Lighting: Just create a plane and
increase the size like this. This is going to cover
this part with the plane. Now what we can do is let's change the
render agent cycles, make the device to GPU compute, and for the max
samples in view port, let's make it n,
and for the render, let's make it 50 and make
sure the motion there is on. And make sure the color
management is tacked to standard. Again, in the output properties, make sure the render
region is on, and as you can see,
we have this car, but there's no shadow catcher. So first, click on this plane. Let's just name it
as shadow catcher. Then, if you're
using cycles engine, you already have this option
of this, you know, single. You just, you know, click on this shadow catcher and it
makes it a shadow catcher. You won't see it right
now because we have to, you know, turn on this option called transparent
in the film section. Now, you should see we
have this shadow catch up. Let's just, you know, if I just hide it,
you won't see it, but now you can see it. But still, it won't look proper because we don't have
a light in our sets. And for the lighting, we
are going to use HDRA. So for that, you
will this add on. You will this add on
called Blender kit, and it's really easy to doload. You can just search on Google
or something like that. And when you're done, install it and click on this find
HDR and search for, let's say, mm overcast. Because the time I shot
this footage, in my area, it was something, you know, like the uh the sky was
something overcast. So I think this would look good. And we want something,
you know, in the back. I can just, you know, download an HDRI, which is like plain. You know, if you see this
image, it's completely bed. It's a sky there's
no environment. And I want some reflections
on the window, right? So for that, I have to
choose that kind of GDRI. Because I was searching
for an DRL and I found this one, so I'm
going to use this one. And if you go in
the depth review, if you see here, we have
this light reflection. It just blends in with the
background, and I like this. The shadows actually looks good, and let's do one thing. We can let's just
render a single frame. But first, go to compositing and don't worry we are not
compositing right now, but we have to delete
this three uh, this is Dilig three
and this one, two, and colling
this image to image. And then on Brando. If you don't have a good PC, you can just decrease, you know, max symbols
to maybe ten or nine. And it will also decrease the time taken to render
single same also. That's cool. It's
almost done, I guess. Okay, I'm 45 seconds.
I don't know why. I have to, you know, let's decrease the max symbols to ten. And in the advance? No, not in advance. Maybe, the light paths, let's just decrease
the total to maybe eight and transmission to ten. And yeah, that's it. Then if we render again a
single flame, it should, you know, reduce the, you know, total time taken
for rendering signal frame. Okay, it is done,
and it's 38 second, okay? I think it's fine. Because if I just decrease the samples and the light
paths, and, you know, if I decrease the
settings more, it will, you know, like, decrease the quality of the car also.
And I don't want that. So I think I'm just gonna
leave it like this.
7. Final Compositing – Blending 3D with Real Footage & Rendering: Now what we can do is
we do compositing and we can we can change
some we can just, add a color tone of the
same like most wanted. I assume that you played this game NFS most wanted
in your childhood, and if you did you know the
color tone of the game is, you know, yellowish and warm. So we are going to do the
same for this one also. This one is your car and this one is your
background video. So first, let's blend the
car to the background, and then we can, you know, add RGB curves right here to, you know, apply the
settings to both of them. So first of all, let's
just add RGB curves, but for the car. And let's let's decrease
the blue slightly. And maybe, you know, increase the green slightly. Nope. Decrease the Let's just decrease the
blue a bit more. And I think it is fine. Now we can add another
RGB curve right here. Then connect this one
to also composite. And now we can
decrease the blue, and it will affect both of them, the car and the background and increase the green slightly. The decrease the red and see
how it goes, not just. No. Let's not, you know, do anything for the red. Maybe increase the
blue a bit more and increase the green, no. I think this looks fine. You know, we can add
lens distortion, but it would not look, you know, like real because the reason
is that this footage is, you know, anyone anyone can say that this footage has
been shot from my phone. And lens distortion
if you're using, it should look more like, you know, you have shot the
footage from a proper camera. So I think I'm not going to
do anything with this one. And I'm just going to, you know, make the
I think it is fine. Maybe I can decrease
the contrast slightly. And now I have to do one thing, and that is decrease
the strength to, um, What if I case the
tent to do it doesn't. Maybe decrease the
tent to point Sern. And now we I have to actually, you know, Okay, so
this was the reason. I was feeling a bit, you know, weird for the car. It wasn't looking good. So the car and now if we see it
shows proper shadows. Let's render a single frame and see how it looks after the composition
and after we did, you know, change the position of the car because it was messing up with
the shadow catcher. Now it should look really good. Okay, so the render is done
and it looks real this time, and the shadow catcher
is also working fine. Okay, so now for the
output properties, make sure the frame rate is 30 and make sure the file
format is set to PNG. And PNG is a reason because we can render it as
video, but, you know, you won't be able to change the FPS data because that's
suppose let's suppose, I want to render this
project as 30 FPS. But when I render it, like the render is done, and then I feel like, you know, it should be 24 FPs. I would able to, you
know, change that. So rendering as PNG is
like the great option. And there's also another option. And there's also another
reason why you have to choose PNG because if
we render it as video, and let's suppose, you know, you're spending, you know, Rs and s for rendering this. And let's suppose it
was about to, you know, fully render and maybe your
blender or your PC crashes. So what you have
to do is, again, render it from the start and
you have render it as video. So yeah you're finished,
you can do anything. So just listen to me and, you know, select it
or select this PNG. I render it as PNG,
and that's it. Then create a folder and, you know, just choose
your, you know, destination where you want
to save this PNG files, and then you can just hit render animation,
and that's done. First of all, thank you
so much for watching my course from the start
to the end till here. And I'm really glad you've
completed this course. And if you're interested
in learning more, something like this
or something better, you can check my other courses, and I've got really
cool courses for you. I even have a Spider Men one. As you have already
completed this course, please submit a review
for this course, and I would really
appreciate it. Thank you so much for joining
Udit Gala
