So guys what have you achieved until now.
Minato sculpt the photographer and we got some very fine results here.
But yet we haven't used any of the properties within the Rotto blush and we fine edge effect itself.
Now why is this.
Because the way I like working is Do the writers copy as best as I can then drop in the new background
and use the properties here to adjust according to the new background.
So let's do this I will first drop the background.
I would choose a river.
You can get any video you like.
That is good for the photographer here and just drop it under the photograph.
Good.
Now the first thing you got is this really needs a color correction or I would say color blending or
blending the subject within the environment.
The subject is to naturally the environment is a bit bluish.
I will come back to the effects control now and select the photographer and not exhibit what shrunk.
First of all if those things that really strikes you is they come in over here.
If I press alt and zoom in it has a kind of bought.
Let's look at the effect it's it is actually divided in several sections here but they're very easy
to understand.
The first one is a rotor brush propagation.
The properties within the rotor brush propagation would have helped you to propagate your strokes for
the lens of the wity meaning you could increase the search radius or work on the edge detection instead
of ballast.
You could've used one of these options were to do that later.
The next group I would say is to fine tune a roto brush mount.
You remember here we had the right guys.
So the fact you Rato brush Matt is by default checked and when it's checked or the property is within
these Arado brush Matt here are highlighted.
And you can work and adjust your mat.
For example you can increase at the edges of this or decrease them if you like.
Do you not manage 100 percent.
You are actually shrinking and expanding the mat.
OK.
But the back to zero.
You could also work on the chatter or the feathering if you like too.
So these will help you to adjust the rotor brush.
But if you can check there will not be available any more.
So keep them checked.
You're not saying you have rendered any fine edged.
Do you remember that.
These are our refined.
We put them with the fine tool.
And if you don't want to render them at all you will just uncheck this one and they will totally disappear.
Guys you don't have them anymore.
And the X here doesn't work anymore.
But of course if you put them then you have to check it to render them.
There is here.
The bay is refined fine edge radius.
This is pretty interesting.
Let's put on the edges and increase the base refine your radius.
OK I'll pull it for just a random figure here to see the result.
Now remember guys I had asked you not to put the fine edge strokes all over the place because you had
this option of at the fine edge radius which would give you a radius all around your subject.
According to the strokes that you have put to define the subject this is the Rotto brush strokes.
So you can use this property to add an edge all over your subject if you like I'll put it back to zero.
There is also the possibility to fine tune a fine Edgemont.
And if you drill down these are the properties that will help you to refine the edge.
Matt OK.
Now sometimes they are very useful.
Here we have two strokes but it's OK.
Let's go back to the composition and we want to fix the tool.
Just over here.
So the best way is to use Shift edges.
If you remember I put it in negative value and you notice how the edges are shifting to the inside so
I'm using the math here maybe fifty two is too high and or something like this.
Call it seems it's fixed.
I don't have this border anymore.
Maybe also you should look around to see if it has destroyed something or everything is cool.
I think it's OK for now.
So an example for you and use the Rato brush math the properties to work on the math itself.
And you know get the results that you want.
Then to apply other effects it would be much better to decompose.
Here we are.
And let's call this where our photographer wrote to.
And you move all the attributes here you are.
So now what exactly is happening in the play comp.
You have the photographer with the Reuters copy in the composition now it's clean.
There is no effect.
And you can plot like any effect you want.
In this case we want to do color correction.
I would not apply the Dometic color is too much work.
I think he had curves will do much better.
There's got to ethics and pisshead and use Curves stick curves and drop it on the layer itself.
Because the effect will allow you to adjust the color so you can adjust the three of them IGB red green
blue or the Alfar which is not necessarily here or just one color.
I would choose the blue here because obviously I need to add some blue and I take it up just like this.
And the photographer is becoming as cool as the scene.
OK you can notice now you can use the green if you like.
I think you should take it up a bit much better.
Let's go to the red.
But I don't think we should use it here.
I would just take it down.
Not bad at all.
OK forty two minutes work.
Now of course I would like to scale down now I will take the photographer down just over here.
So now if you play is pretty cool except for hair.
Here with the finest tool we need to work on it a bit.
So I leave it this as a homework for you.
I just said at 100 percent the way you would like.
But actually we really blended with the background and it looks quite natural.
Thank you very much for listening.
I hope this was extremely useful for you.
I hope you learned a lot about rotoscoping and I will see you in the next lecture.