- 01 – The Silhouette user interface & Workflow Overview
- 02 – Rotoscoping Basics
- 03 – Rotoscoping Continued
- 04 – Motion Tracking – Planar Trackers
- 05 – Complex Roto and Inverse Kinematics (IK Tool)
- 06 – zMatte Basics
- 07 – Power Matte
- 08 – zMatte Advanced
- 09 – Paint
- 10 – Paint Extended
- 11 – Depth
- 12 – Roto Blend
- 13 – The Morph node : Warping and Morphing
- 14 – The Output node
- 15 – Tracking, Stabilization & Matchmoving
- 16 – Composite nodes & Grain Management
- 17 – Working with stereo footage
User interface and workflow
The UI is significantly updated in Silhouette V6, and offers even more opportunities for working faster and more efficiently. This section gets you acquainted with the basic tasks when you start a project, importing footage, working on a task and exporting. This also covers more in-depth viewer options, mixing footage resolutions and setting up project preferences.
The core toolset for many of Silhouette’s nodes involve drawing shapes in one way or another. It is important to have these skills mastered first. We start with the advantages and problems with various spline types, before we look at animation strategies to break complex shapes into a simple roto task. Those could be dealing with obscured objects or how to tackle out of focus and fast moving objects.
Mastering motion tracking will save hours of manual animation. This section shows how to use the three different motion trackers available in Silhouette, and some of the different tasks we can use them for. It also discusses what to do when things go wrong with a tracker and techniques to fix it.
The strategies you use to tackle a complex rotoscoping task have a huge impact on the time a task takes. In this section we look at a tricky organic roto job, and break down the stages in animation. You will learn about the importance of object management, hierarchy and how the IK Tool (Inverse Kinematics) can make a lot of complex animation really easy.
Creating an alpha matte obviously doesn’t always require roto. Here we look at the zMatte and Power Matte nodes to not only create keys, but full composites. We explore the difference that proper color correction and spill control can make. Additionally we show different strategies for a trickier piece greenscreen footage, and discuss the decision-making process.
After a quick overview of the various paint tools and brushes, we move in to a common dust-busting job to clean up a highly reflective, but also scratched, surface. After creating a good-looking single frame, we will use our motion tracking skills and Auto Paint to make quick work of the rest of the clip.
Explore Silhouette’s new nodes for creating depth maps; Depth and Roto Blend. Start with a simple breakdown of the depth toolset and how to view your progress as you go. These ideas then develop to more complex scenes before we bring in other nodes to make quick work of a moving shot filled with complex scenary.
Warping and Morphing
The Morph node is extremely powerful, and we take a structured look at how to use it. We build up from the basic ideas behind warping, to dealing with folding and other potential issues. Our final project is doing a morph transition between two moving pieces of footage and the tactics to deal with that.
What do you do when you have finished the job? Outputting can be as simple as exported your rotosplines out to another application, exporting your final composite, or taking out multi-part files for further manipulation. We look at these and other output features.
We take the strategies we have learned in previous sections, put them all together and expand on them, whilst exploring more of the 138 built-in nodes contained in Silhouette. We also compare and contrast two different compositing strategies for dealing with compositing steam, smoke and fire.
All the taskes we’ve done so far can also be done with stereoscopic footage in stereo! In this final section we discover the basic workflows for dealing with rotoscoping and paint work in stereo. Plus a final extra way, if we need to split our stereo clips, for example to color balance them.
Course Runtime : 7h 43min
ABOUT THE TRAINER
Ben Brownlee has worked in production and post-production for over 17 years in various roles. He has been involved in a wide variety of films, television and TV commercial projects in that time. As a trainer, he has worked with some of the leading broadcasters and post-houses, providing bespoke courses across the globe. He has also developed courses for Lynda.com and fxphd.com.
Tutorials, Footage & Projects Total : 5.4 GB
Downloads available either as large single files, or as smaller, split archives.