Vfx Clean Plate Footage Free Download
Danny Casgrain
It's easy to understand how computer graphics are superimposed over live footage to cover existing elements (like an actor in green pajamas). For example, it seems easy for the CG version of the Hulk to completely cover Mark Ruffalo without having to replace anything real that wasn't already visible in the shot.
It's also easy to understand where this comes from for footage where the camera doesn't move. With a locked-off shot it's not hard to get a shot without any of the actors/props or whatever is being replaced (a clean-plate, as it were), and match that to the real take.
Sometimes FX studios will use projection painting. The technique basically tracks the footage onto basic geometry and use different frames for different areas of the scene(an actor may be in front of a section of the background, but isn't in another frame.)
Hi Ok so I have this video that you can see in the link, and I need to remove the actor with the tracking markers on him so that he can be replaced with a 3D model character. And I found a great tutorial on how I can do this but I am running in a problem. In the Tutorial at 6:25 he turns the Photoshoped clean plate in a 3D layer and it stays where it is in the comp, but when I do that my Ps clean plate gets moved away in 3D space son re-positioning it is kind of not very possible.... What is this happening, any tips how can I remove the actor? I am hoping I do not have to go frame by frame..... THX in advance.
It's going to take some work to cleanup the Camera track so you get a good solid attachment to the background. The other problem you have is that there's perspective in the path the actors move over so you are dealing with more than one plane. A perfect camera track a positioned solid on the background is also going to require that you position a solid on the pathway the actors follow. You will also need another solid for reference to use for the background.
Then you can't just replace the path with the Photoshop plate, you'll have to project the Clean Plate on a properly positioned solid so the geometry matches. You'll need two clean plates generated in Photoshop. This is going to be a lot of work.
This is why you need a visual effects supervisor on the set. When you are dealing with perspective changes and a hand held camera you really needed to shoot a clean plate on set with the camera doing the same moves that it did with the actors. You can then stabilize both shots and line them up using time remapping to generate your clean plate. Without the clean plate from the set on this kind of a shot you are in for a lot of work to recreate the geometry and make the shot work using camera tracking.
An easier solution would be Mocha Pro's remove module. If you don't have Mocha Pro, then another solution would be to try the Corner Pin / Stabilized technique I demonstrate here: I don't have time to give it a try, but It may be an option for creating your clean plate. You may be able to utilize time remapping and even AE's clone tool to generate the clean plate.
Hey BlenderNation! In this video I show how you can remove objects and tracking markers from a live action shot in Blender 3d. We go through camera tracking and creating a clean plate with camera projection in Blender. This is a very important skill in visual effects. Enjoy and let us know what you would like to see next!
So this idea crossed my mind some time ago: what if you were shooting on a tripod, get a perfect clean plate, then put your subjects in the scene, and somehow get your software to compare the clean plate to the input video? This would solve A LOT of the issues with greenscreens, and should theoretically provide a really good result. Well putting in into testing it didn't work at all (i tried calculating the difference and using that to extract the alpha map, but the results were all over the place). My conclusion is that the compression from the camera messes things up (the clean plate and footage are perfectly aligned), but i'm still thoughtful. Have you ever tried this kinda keying before, or do you happen to have any ideas why it works so terribly?
How exactly does one go about filming a clean background plate for a moving shot where there is no motion controlled camera where the move can be perfectly replicated? For example lets say its a handheld shot that cannot be done twice.
After we wrap the discovery interview in a nice tiny bow, we move our interviewee and any video equipment out of the shot. Then, we film the now-empty scene for about 10-15 seconds. That gets us a clean plate, which we can use to hide the equipment we moved earlier.
By turning down the exposure of our cameras and shooting a low-exposure clean plate of the windows, we can add those outside details to the windows in editing. Abbra clean plate dabra!
I recently watched Ian Hubert's lightsaber tutorial. About midway through, he discusses using a plane with an emission material and a clean plate image (as the color) to animate the lightsaber ignition.
I ended up finding another tutorial that shows how to make a phone appear to levitate through the use of a mask and clean plate image. I tried this approach as well, but again the mask was clearly distinct from the rest of the video.
I know some steps can be taken to try and minimize the issue--having footage where the lighting/brightness doesn't vary; limiting the number of frames where the clean plate is shown; using compositor nodes to make the mask less sharp; etc. But it still seems like I'm missing something.
As a last resort, I tried an experiment. Instead of using video footage I had shot, I used screen recording software to capture a video of a simple setup in MS Paint. I created a large blue rectangle with a small, thin yellow rectangle inside it. I used a still image of just the blue rectangle as my clean plate. However, after trying both tutorial methods, I was again left with a noticeably visible plane/mask.
Hey! I am a newbie to the world of visual effects and came across an interview on the web about some professional vfx artists that talked about plates.
Now what exactly are plates? What can they be used for?
Might actually come from old school matte painting work too, since some of it was done on glass plates for overlay and rephotography operations.
Still funny how work on set seldom has discrepancies between units and various people, while in digital some terms have wildly different meanings from place to place.
I have a footage of an actor throwing a book from A to B shot with a static camera with 24mm lens.
My task is to replace the book with a CG book and use the book in the footage as reference. (i will shoot a clean plate aswell).
What is the best way to go about in C4D to match the scene so i can this get the distance/size right?
My main head-scratching issue was how to remove the moving people without doing something incredibly obvious? I tried painting out the picture (with node resizing as a paint tool) but it made the frame feel empty. When I decided to use a normal compositor trick of building a clean frame that was my Ah-Ha moment. In the Insight below we look at:
Clean plates are an essential part of a VFX artist's toolkit, allowing them to remove unwanted objects from a scene seamlessly. While the traditional approach involved manual techniques like the clone stamp tool in After Effects or painstaking painting in Photoshop, recent advancements in AI technology have introduced a game-changing method called "Generative Fill." In this tutorial, we will explore how to leverage this revolutionary technique to create clean plates quickly and smoothly.
As soon as you activate the Generative Fill tool, it will analyze the reference frames and the masked area, and generate a fill that seamlessly removes the unwanted object. It's like having a genie granting your wish for a clean plate!
Once the Generative Fill has done its job, export the newly generated clean plate from Photoshop and import it back into After Effects. You can now use this clean plate to composite your scene without the unwanted object.
Since the techniques I will demonstrate this time are very specific to this footage, I encourage you to go ahead and follow along with my plate rather than using your own at first. Download the footage here: 005_paint_plate.zip (55.3 MB)
First, we need to compensate for changing the resolution of the clean patch. Merging it on top of a black Background with 0 Alpha reformats it to our Default frame format while preserving any pixels that fall outside the new canvas.
Handle lighting shifts in footage better with improved Content-Aware Fill. It helps you cleanly remove objects from footage where harsh lighting changes occur throughout your footage and get results that look more realistic without distracting artifacts. Without lighting correction enabled, Content-Aware Fill stays true to the reference frame and does not take into consideration any lighting changes.
The old Content Aware Fill (when Lighting Correction is disabled) stays true to the reference frame and does not take into consideration lighting changes. It is more useful in footages with consistent lighting. Content-Aware Fill currently copies only local information from each image and then finds some global adjustments to fit this information into the target frame. When you use lighting correction on footage that contains lighting shifts such as shadows, highlights, lens flares, and auto exposure changes that are not correctly read, the color of the pixels copied into the hole are not the correct color, and the result do not look clean.
This does not impact the speed of the performance than without lighting correction. The overall workflow is faster when working with footage with variable lighting because you don't need to take additional steps to clean up the results.
Situations where the Strong might not work well are footages with flickering lighting condition such as on grass or sandy shots that reflect a lot of light. The Strong can can color correct too harsh which can introduce more flickering. In those cases, try using Subtle or Moderate strength.
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