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So guys what have you achieved until now.

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Minato sculpt the photographer and we got some very fine results here.

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But yet we haven't used any of the properties within the Rotto blush and we fine edge effect itself.

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Now why is this.

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Because the way I like working is Do the writers copy as best as I can then drop in the new background

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and use the properties here to adjust according to the new background.

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So let's do this I will first drop the background.

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I would choose a river.

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You can get any video you like.

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That is good for the photographer here and just drop it under the photograph.

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Good.

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Now the first thing you got is this really needs a color correction or I would say color blending or

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blending the subject within the environment.

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The subject is to naturally the environment is a bit bluish.

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I will come back to the effects control now and select the photographer and not exhibit what shrunk.

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First of all if those things that really strikes you is they come in over here.

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If I press alt and zoom in it has a kind of bought.

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Let's look at the effect it's it is actually divided in several sections here but they're very easy

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to understand.

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The first one is a rotor brush propagation.

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The properties within the rotor brush propagation would have helped you to propagate your strokes for

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the lens of the wity meaning you could increase the search radius or work on the edge detection instead

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of ballast.

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You could've used one of these options were to do that later.

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The next group I would say is to fine tune a roto brush mount.

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You remember here we had the right guys.

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So the fact you Rato brush Matt is by default checked and when it's checked or the property is within

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these Arado brush Matt here are highlighted.

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And you can work and adjust your mat.

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For example you can increase at the edges of this or decrease them if you like.

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Do you not manage 100 percent.

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You are actually shrinking and expanding the mat.

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OK.

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But the back to zero.

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You could also work on the chatter or the feathering if you like too.

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So these will help you to adjust the rotor brush.

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But if you can check there will not be available any more.

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So keep them checked.

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You're not saying you have rendered any fine edged.

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Do you remember that.

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These are our refined.

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We put them with the fine tool.

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And if you don't want to render them at all you will just uncheck this one and they will totally disappear.

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Guys you don't have them anymore.

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And the X here doesn't work anymore.

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But of course if you put them then you have to check it to render them.

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There is here.

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The bay is refined fine edge radius.

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This is pretty interesting.

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Let's put on the edges and increase the base refine your radius.

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OK I'll pull it for just a random figure here to see the result.

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Now remember guys I had asked you not to put the fine edge strokes all over the place because you had

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this option of at the fine edge radius which would give you a radius all around your subject.

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According to the strokes that you have put to define the subject this is the Rotto brush strokes.

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So you can use this property to add an edge all over your subject if you like I'll put it back to zero.

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There is also the possibility to fine tune a fine Edgemont.

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And if you drill down these are the properties that will help you to refine the edge.

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Matt OK.

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Now sometimes they are very useful.

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Here we have two strokes but it's OK.

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Let's go back to the composition and we want to fix the tool.

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Just over here.

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So the best way is to use Shift edges.

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If you remember I put it in negative value and you notice how the edges are shifting to the inside so

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I'm using the math here maybe fifty two is too high and or something like this.

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Call it seems it's fixed.

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I don't have this border anymore.

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Maybe also you should look around to see if it has destroyed something or everything is cool.

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I think it's OK for now.

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So an example for you and use the Rato brush math the properties to work on the math itself.

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And you know get the results that you want.

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Then to apply other effects it would be much better to decompose.

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Here we are.

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And let's call this where our photographer wrote to.

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And you move all the attributes here you are.

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So now what exactly is happening in the play comp.

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You have the photographer with the Reuters copy in the composition now it's clean.

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There is no effect.

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And you can plot like any effect you want.

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In this case we want to do color correction.

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I would not apply the Dometic color is too much work.

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I think he had curves will do much better.

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There's got to ethics and pisshead and use Curves stick curves and drop it on the layer itself.

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Because the effect will allow you to adjust the color so you can adjust the three of them IGB red green

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blue or the Alfar which is not necessarily here or just one color.

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I would choose the blue here because obviously I need to add some blue and I take it up just like this.

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And the photographer is becoming as cool as the scene.

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OK you can notice now you can use the green if you like.

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I think you should take it up a bit much better.

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Let's go to the red.

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But I don't think we should use it here.

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I would just take it down.

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Not bad at all.

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OK forty two minutes work.

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Now of course I would like to scale down now I will take the photographer down just over here.

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So now if you play is pretty cool except for hair.

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Here with the finest tool we need to work on it a bit.

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So I leave it this as a homework for you.

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I just said at 100 percent the way you would like.

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But actually we really blended with the background and it looks quite natural.

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Thank you very much for listening.

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I hope this was extremely useful for you.

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I hope you learned a lot about rotoscoping and I will see you in the next lecture.