Victorian House Set Extension with Projection Man: Using Coverage Renders to Patch Issues

Photo of Joseph Herman

Instructor Joseph Herman

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  • Duration: 09:16
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  • Made with Release: 17
  • Works with Release: 17 and greater

First we'll start out by animating the camera and proceed to deal with areas exposed on the model in the second camera position by generating a coverage render, retouching it in Photoshop, and reprojecting it from a separate camera.

First you'll learn how to animate the camera and proceed to deal with areas exposed on the model in the second camera position. You'll do this by generating a coverage render, retouching it in Photoshop, and re-projecting it from a separate camera.

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Transcript

- In this video I'll animate the Shot Camera and create a Coverage Render. Let's take this Projection Camera and let's copy it again. Now let's call this camera "Shot Camera". This is the camera that we're going to use to film our shot with. By the way, you can delete the original Calibration Camera or you can leave it around. It's up to you. I'm going to remove the protection tag from the Shot Camera because we obviously need to move this camera. And I'm going to keyframe it at frame zero. Now, I want this whole sequence to last a little longer. I want it to last 120 frames. Now let's go to the end-frame and let's move our camera to a different position. Somewhere around here. That's good. So now let's go ahead and keyframe that. And now we've just created some animation. And that's how much our camera will move in the shot. Now, what you'll find is when you move a camera away from its initial projection position, you'll run into areas such as these which are caused by the image that is being projected gets shot into areas that you don't want it to be. What you'll need to do is you'll need to fix these areas. So now we're going to get a look at how we're going to fix these areas using a coverage camera. Let's take a look at what's going on here. We'll ignore the Calibration Camera for now. Let's take a look at these two cameras. One is the Projection camera that is being used to project the image. The other one is a Shot Camera that's moving from one position to another. Let's copy that Shot Camera. I'll delete the first keyframe. So now we've got three cameras. We've got the Projection Camera, the End-position Camera and then the Shot camera which moves in between the two. On that End-position Camera we're going to rename it and call it "Coverage Camera." That's the final position of the shot. Now let's click on the Coverage Camera in the Projection Man window and choose Coverage Render. This little box comes up where we can set some settings for this render that we're going to make. We'll make it 4000 wide. We'll choose Save Alpha Channel. Uncheck Start Photoshop right away because I'll open up Photoshop. But I will leave this Draw Edges command checked. So let's click OK now. And what will happen is that you'll see that this Coverage Render renders really quickly actually. And you can see that it has rendered with these problems in it. You'll also notice these little lines here that shows you were the geometry edges are. So we're going to be using this in Photoshop in a minute. I want to make another render of the same render but this time I uncheck Draw Edges. Let's give it a separate name, let's call it "Coverage Camera No Lines" and let's click OK. And this time you'll see that it's basically the same render as before but those little, tiny little hairlines that indicate the edges are not there. Switching over to Photoshop I prepared a file that has three layers. The bottom layer has that coverage render with lines on it. The next layer up has the render with no lines and the top layer is just an empty layer. So what I'm going to do is I'm going to zoom in on an area that needs to be fixed. For example this area on the roof. Then what I'll do is switch over to the Clone tool and I'll start retouching this image on the empty layer. I'll make the Clone tool a little bit smaller. I'm going to start cloning with all layers and I'm going to start filling in the problem areas. So as you can see, I'm extending that roof texture over to the left and covering over the problematic areas that are caused by the shift in position of the Shot Camera. You cannot see these anomalies when you're looking through the Projection Camera but when you shift position you'll see them. Because they spill over from the projection onto the geometry. Now sometimes you don't need to do this, if you're just zooming in on an image you might get away with not doing it, but 9 times out of 10 you'll need to create these coverages, especially if you plan to move the camera a lot. The more you plan to move the shot and change perspective from the original projection setup the more you will encounter these kinds of issues. Now if you have a lot of practice retouching then these things will come easier and you'll fly through this type of stuff. But it is kind of tedious and meticulous work to get it to look right. You can use the image with the lines in it as a guide to see where the geometry ends. As mentioned before, the more you move your camera from the original position the more you're going to have to retouch these types of coverages. Obviously this was originally some sort of Law Offices. Not really sure where this house is. Could be in New England or something. The home of some New England lawyers. But it could be in Georgia too. Who knows? I've got the No Lines layer hidden so I can see where the lines are. So in this way I can get right up to the geometry. That's the benefit of rendering it with lines. By the way this...it really helps when you're doing this kind of work to use a Wacom tablet which I am using right now. I wouldn't want to do this kind of work with a mouse. That would be kind of like torture. Now, matte painters use this technique all the time. We're not really doing a matte painting here but that could be the topic of a whole other tutorial is How to do a good matte painting. Right now we're just trying to sell the effect as if the camera was really there that day and was really moving around this house. Let's work on this area now. I'll start by painting in this sort of window here. There's some smearing going on in those bushes so we want to clone another leaf pattern in there. All right, I think we're all done. So here you have a before and after. And you can see what I fixed. Now let's just take a look at that transparent layer and you can see that everything exists on that layer. All the painting that I did. All right. Now let's get rid of the Lines layer. We might as well keep the other layer, the No Lines layer. And let's just Save As. Let's call it something different. Let's call it "Coverage Final." And we'll call this layer... Let's actually name this layer "Coverages." And this layer we'll name "Base." All right, now let's go ahead and let's go over to... Take a look, there's that Coverage Camera right there. And what we want to do is let's look through the Shot Camera. You can see that like that. We can see the problems that we had before. Somehow the Projection Man window disappeared. Let's bring that back up. Let's drag it to where I usually keep it which is right here. And let's drag the House Base layer on top of the Coverage Camera and choose Load Bitmap again. And this time we want to choose the CoverageFinal.psd folder. Click Open and for the Luminance channel we want to load in the Coverages. And for the Alpha we'll use the Coverages Layer Alpha. And let's click OK. And let's quickly click on this material and once again change the Texture Preview Size to 1024. Now you'll notice that the problems are gone from that second position. Okay. It looks a little weird right there. And that's because once again I need to turn off the Specular again. It's causing a problem there. There, that's better. In the next video, I'll create additional Coverage cameras to fix other problems that pop up on our projection.
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