Guys before you start walking around skipping for the whole duration of the video I would like to show
you what's happening in the timeline.
If it's caught down here.
You will notice that you have a series of strokes.
They're all grouped under strokes over here.
And you have a edgy refinement for example your foreground.
And you have background.
Let's go to the first stroke we have put in the foreground one.
So what is it say Rotto brush.
Which means it's going to give you a brush stroke here just like the brush tool or the it is a tool
for example you will get certain strokes the foreground strokes are the ones that are selecting your
foreground your background strokes are the ones that are selecting your background as is it.
This is a very nice by the way to work with this once.
So actually you have properties for each stroke.
You have the stroke option for example.
You can even scrub through it.
That is a kind of path if you like you can any metal you can change the diameter the angle the hardness.
OK.
All these properties you can come over and play with them.
And also for the background strokes you'll have exactly the same you have the stroke options with all
the properties that you can even and emit.
So it becomes actually pretty interesting to work with them.
I must confess it's quite advanced as quite hard to adjust them from you.
But nevertheless if you come to the time line you will notice that these are the strokes and each one
of them is one frame long.
Now we want to go ahead and propagate all our strokes for the duration of the video and more when after
effect selected a background we want to de-select this background so with a background stroke and went
after the fact did not select the foreground we are going to add another foreground a stroke and we
go on until the end of the footage.
We're not here you have a bar which has some kind of arrows.
This is going forward.
It means after effects we'll work 20 frames at a time but this go to 20 frames actually is exactly 20
frames.
That is the steps if you like 20 frames at a time and you have the green.
This has been around so how do you work.
Why some people decide to press spacebar and to play.
So aftereffects would render according to The Strokes but I don't prefer to go a frame at a time and
believe me when you go a frame at a time it would be much easier because you can see exactly what's
happening and you don't have to go back and forth and try to figure out what after effect missed.
So I would click on the play head in the player and just press down.
Notice that after effects has moved the strokes with the four down another page down and it's still
ok.
Everything is selected in its right way foreground and background.
Gone.
Here you are until we find a certain problem.
For example I don't know is doing very well until now.
You are going to miss this hair but I'm gonna go for it.
Miss it is no problem.
And we go on.
So not is there is a green line over here.
This means this has been rendered.
Let's go ahead again.
And here are some problems are going to start which is over here.
It's your choice to start selecting this one or give it until it becomes a bit bigger.
Maybe if necessary I will leave it.
It's not OK.
Then we look at the camera the face and everything we want the boundaries to be quite correct.
OK.
That's another one.
I'm doing it.
I'm waiting for it to render.
I just press paged out.
You wanted to render what's happening here.
Now we are at 20 frames and the arrows have finished.
Well I can come over and that's what I usually do and study them just to the end.
I don't care.
And then start going again.
They sit down for each one of them.
And look if I have any problems.
What.
This is a very good way to work because you will spot the problem and fix it immediately.
You don't have to wait for you know I did and it has played where is the problem here you are I'm going
to go a bit faster and this is our first problem over here.
OK.
You're not here.
We have a background SELEKTAH do we need to de-select this one.
I will pitch up meaning backward then forward.
OK starting from this flip I pressed alt and zoom in and then press control to make the brush very small.
And I'm at the bottom here so I press to remove.
I'm going to select this area OK.
Notice it has selected very well.
Now you know when you have a trouble area maybe you want to go down and look at this trouble area and
then in others there is no more trouble.
I think he got it ok after I got it.
So now I would zoom out ok and go backward.
Right.
OK.
This is how I walk you might invite them either way.
It's OK.
And I'm not saying here that the camera is not being selected.
If I go to the Ulfar you will notice that there is something wrong with the on this.
Go for it zoom here.
And yes I was right.
So I'm going to select this part of the camera OK that's fine now and not in the time line it has added
at the time what am a foreground and the background the background was before.
Now let's go back to 100 percent and go down again.
Well we're starting to have some problems.
OK.
You know this area over here.
I'll zoom in.
I need to go up and here you on a place for negative or removing background.
Just select this area and hopefully it will do a good job.
Excellent job.
If you notice I'll go back to 100 percent.
And I think we still cool everywhere else.
And if you're not here we have a problem with the camera again.
But I want to go back and make sure I didn't notice this problem before so I will zoom in.
Not that the camera is not selected as we select the camera.
OK guys see what's going to happen.
Select this part of the camera and the fingers here.
Maybe you need to do two three passes year.
We want this finger OK.
It's called a bit fine.
I'm zooming out now.
And let's go page up and notice did we do any mistake.
OK.
We'll call here go down.
Still the camera is being de-selected at this frame so I'm going to do is to zoom in here.
OK.
And select and stay zoomed in over here and then go down.
OK.
Not just exactly what's happening.
But I've got to go back and here you are.
The camera has been eaten up and at least selected more OK.
And you know the problem is coming from the fine edges here.
So I'm going to make sure that I'm selecting the very right.
And again and I hope aftereffects would get it this time.
I'm pretty fine in this area here makes the camera a bit distorted.
Can only move it.
Cool.
Let's zoom out a bit just a bit.
Go big.
So we are going to start again.
Of.
Here you are.
Everything is fine.
I hope so.
Then go page down.
And here you are now is working very fine.
Now you have this area here that has appeared.
Let's go page up and it starts from here.
So I'm going to press alt and remove this area and hopefully it will work really fine.
OK.
My stroke has been very bad.
But actually it worked.
I'm going to add this piece here about at all.
I'm doing a good job right guys.
Talking to you also.
So I'm going to go another frame down.
And here you are we have another problem here.
Let's try to remove this one.
I doubt it would be removed well aftereffects doing great job.
Let's go down again.
OK.
So now it seems fine we can focus on this one and go down and look here.
Here it seems very good.
And then we go page down and page down.
OK guys so you have to go page down until the end of the composition.
But now you can simply zoom at 100 percent OK if you want to do a short cut press but and after that
we start searching and rendering and trying to do it as best as possible.
You need to stop it as soon as you find a mistake.
Don't go to the end and then find a mistake like we have a mistake over here.
But I'm going to let it go.
We are almost at the end.
OK.
So now it has completed but we still have this mistake we don't need to take it off.
It's just over here so let's see where it started.
It started just here.
OK.
So from here I'm going to zoom in and of course I'm going to use the negative one selecting foreground
or selecting foreground.
And here you are.
I'm going to go page down and see exactly if it's going to grab it a bit more.
You know this has happened because the colors here are very similar.
So I'm going to go again.
It seems it's working fine yes.
So one single connection is enough to do it for all the other frames.
OK.
Breastpin but the zoom at 100 percent again.
And I think we are very cool doing this rotoscoping.
So we still need to render this green line has to come till the end.
So actually it would render in the background.
And it would come till the end.
Here you are not this is going to work fine.
Let's go to the opposition now and see exactly if you have done a good job.
You are at best best bought and it's pretty cool actually it's very good job considering that I was
trying to talk to you.
And stories like this I've done a very good job and I hope guys will copy me and you go easy on it don't
go pressing SPUs body you know Rush be meticulous and you will not have any problems you know for the
whole video.
That's very cool.
Fine.
So now that you have done the of Scott being we have the photograph vertically full of I think lecture
lecture we add video of background and adjust the colors.
So you then.