블렌더 시각 효과 튜토리얼: 합성 및 애니메이션

이 튜토리얼에서는 Fspy, 모델링, 애니메이션, 합성 및 최종 렌더링을 사용하여 Blender에서 시각 효과 씬을 만드는 방법을 보여줍니다.

### Blender에서 3D 광고 시각 효과 만들기
* 🎨 이 튜토리얼에서는 실사 영상과 일치하도록 fspy를 사용하여 카메라를 설정하는 것부터 시작하여 **Blender에서 3D 광고 시각 효과를 만드는 방법**을 설명합니다.
* 🏗 이 과정에는 **화면과 방을 모델링**하고, **머티리얼을 설정**하고, **원숭이 수잔과 같은 오브젝트를 추가**하고, **3D 콘텐츠를 표시하기 위해 화면을 애니메이션**하는 작업이 포함됩니다.
* 🎭 추가 단계에는 **3D 요소를 실사 영상과 합성**하고, **사람이나 가로등 기둥과 같은 원치 않는 요소를 마스킹**하고, **노이즈 감소 및 색상 조정**을 추가하는 작업이 포함됩니다.
* 🚂 모션 블러, GI 근사치, 출력 설정과 같은 고급 기술도 다루며, **최종 결과물은 실사 장면에 통합된 사실적인 3D 광고**로 완성됩니다.
* 🔗 튜토리얼은 실험과 창의성을 장려하며, **개인 취향에 맞게 추가 요소를 추가**하거나 장면을 수정할 것을 제안합니다.
* 💡 제작자는 사실적인 최종 결과물을 위해 **모델링과 트래킹의 정확성**이 중요하다고 강조하는 동시에 시각 효과를 다듬는 데 **시간과 노력**이 필요하다는 점을 인정합니다.
* 💬 튜토리얼은 시청자가 자신의 작품을 공유하고 **'좋아요'를 누르고 더 많은 튜토리얼을 구독**하도록 유도하는 행동 유도 문안으로 마무리되며, 비슷한 기법을 사용하여 **더 복잡한 장면을 만들 수 있는 예시로 기차가 지나가는 장면**을 보여줍니다.

so you guys seem to really like my advertising visual effects tutorial inside a blender. So I decided to make another one and have some fun with it. Like always, you can download everything I use down in the description below. So the first thing we want to do is open up fspy. Link to download that is down below. That's going to help us rotate and actually create the scene with the correct focal length and everything. So let's just select a frame from our frame sequence. I did convert it to a PNG sequence, just so it's a little bit easier to work with. Let's go ahead and select a frame. I'm doing 188, because I found that that kind of gives me the kind of view in our scene. Let's go ahead and end image off, and you can see that we have a lot of nice lines to work with. So what I'm going to do is I'm going to go ahead and set up my y-axis. So grab this green line, let's just set that to kind.

of be that line on the billboard there. And then the other green line, I'm just going to put up at the top. We do want to try to make this as accurate as possible, so right there is looking good. And then, of course, I do want to have the x-axis. And just keep in mind that we want to have those lines kind of be perpendicular to each other. So we actually have some nice lines in the actual, uh, side of the buildings here. So I'm going to grab this line. Let's go ahead and line this up. Let's say like right there. I'm kind of using that line of that building as a reference. And then let's get this, uh, line up here. And we'll just use the shadow line right there. Let's, uh, change the XY grid floor on and just make sure that it looks good. And you can see that matches my scene perfectly. Well, uh, let's go ahead and just put that right on the bottom Edge, uh, that where our origin is going to be inside blender. So crl s save the project.

in its new location. So save that. And then we can go inside Blender. Now, you do need the Importer add-on installed. So, preferences, add-ons, install. And then you just want to locate that zip. And it should pop up with this file. You just want to make sure that's checked. And once you have that, we can go up to file and then import and Fspy. Locate wherever you saved your Fspy project. And then import that in. And it's created a new camera inside of our project. I'm just going to go ahead and delete all of these objects that Blender automatically came with. And then if we want to go ahead and add a new mesh plane. And I just want to check the edge of our actual kind of sign up here. So, I'm going to rotate that and then G, shift X. I believe, yeah. So just rotate that up there. The most important thing that we want to know is we want to see that our plane is going along the bottom and the top of our

screen uh so you can see mine is actually following it pretty well here. It's not that important for this tutorial, since this is a stationary shot, but again, it's uh just kind of a rule of thumb. You want to have that as accurate as possible. That's going to help us actually model out the screen. So let's go ahead and do that. So I'm going to go into tab, go into edit mode, hit two to go to edge select. Let's bring this edge out, so g y, just move that out here for now. It's roughly right there, uh, and if you think of this screen, it's basically forming a right angle triangle here, and then, uh, it's basically just curving that in. And so what we can do is, first of all, let's bring this down and just fill out the bottom of our screen there. As we'll notice, the top of our screen, uh, remains flat all the way throughout, so we can actually use that to kind of model out the other side right here. So let's go ahead and E extrude that in.

X Direction so hit X, and you'll see that it's not aligned at all. So let's go ahead and select this face, then g y move that over, and we basically just want to align the top right here. So you'll see the line is basically aligned now. So that's how far out it's going to be. Let's go ahead and bring this Edge, so g y. I'm just going to, or sorry, X, let's bring that back right there. And then of course, we do need to get that curve in. So let's select this Edge, ctrl + B to Bevel. I'm just going to scroll my scroll wheel up right there. And then we just need to Bevel this, uh, roughly right there. You'll see that the bottom of our screen is looking a little nice now. Um, I will still notice that there's a little bit of a line here. So I'm going to alt select the bottom, and then gz, just move that down a little bit. Of course, play around with your scene and get a model that, uh, roughly follows the screen.

as closely as you can, since that's going to, uh, really help out the realism of the shot. Okay, so let's go ahead, and I want to right-click, shade smooth. Let's name this the screen, and then what we want to do is go ahead and model out the room inside of the screen. So, I'm going to go ahead, Shifty, duplicate that, right-click to place it back, and then let's go ahead and hide our original screen since we only want to be working with our new screen now. Uh, I'm going to just going to name this object room so we can, uh, differentiate the two. Uh, and I want to go ahead and model out the room. So, I found the easiest way for me to do this. I'm not a modeler, so of course, play around with it for whatever you want for your scene. I'm going to select this edge over here, e, ex, move that over there. Let's go to the side view and just line up those two edges so roughly around there, and then if I select the other

Edge and hit F. That'll create a new face. And then of course, I do kind of want a roof and a floor of our room. So I'm going to go ahead and select this top one, hit F, and then again alt-click the bottom one and hit F as well. So now we have our little room. And you will notice that it's shaded very weirdly right now. And so to fix that, we can go to the Data Properties, go down to Normals, and Auto Smooth that. And now that's kind of fixed some of the weird shading issues that we had. So now, since we have the original screen, if you remember, if I unhide that now and select that, we still have the screen here. So in our room object, let's go ahead and delete that part of the screen. So I'm going to face select this and hold control and click the other face, and that'll just select all these things. Then let's X delete the faces. And now we have the room and then the screen.

kind of separated from each other, and so that's going to be really useful to kind of composite those in separately. Let's go back into the camera view. We will see kind of the bottom of our room, uh, object right here. And so we don't really want that, uh, to get rid of that. Let's go ahead and go back, back into edit mode. And then I want to select basically all the kind of edges on the front here, and I want to hit E to extrude that down on the z-axis. And so now that's basically ex extruded that down. And so what we're going to do with that is, uh, we can still see that it's shaded, uh, we need to actually set that to be a holdout material. And so before we do anything, let's go ahead and set up our render properties to match our scene. So I'm going to come up to the render properties. You can work inside of EV. It's kind of the similar workflow. So depending on what you want it actually show might be better for you to stick in

EV, but I'm going to be switching to Cycles. Uh, denoise on the viewport, but not on the render. I'm going to set this to be 256 for now, and then the viewport, uh, 64. Uh, and then let's change the device to GPU compute just so we can work, uh, super fast. And then what we want to go ahead and do is we want to set this to be our holdout material. So let's add a new material, uh, now. This first material that we add is basically going to be the entire material of the entire object. So, uh, for now, since there are more faces inside, I'm just going to leave this as the room, uh, material. And then we actually need to make a new material, and this one is going to be our holdout. So let's just name that accordingly, um, and then when we have that, we can go back inside V mode, hit all these faces again. So again, just control-click that to select all those, and you can see it's automatically set it to be our room.

texture as before, but we do want this to be hold out. And if we have these faces selected, we can hit assign. And now if we select each individual face, this one is hold out, and then this one back here is room. And so now we have two materials for the same object. And so what we can do now is I want to come down to the hold out material. Let's come out of edit mode, and then I want that to be instead of principle B SDF, we can set that to of course be hold out. And now if we go to rendered view, we'll notice that everything behind our holdout section isn't being rendered. Right now there's a little bit of a weird shading issue, and that's actually because we don't have the film transparency in our scene. So let's go up to the render properties, go down to film, and then hit transparent. And now that's fixed it a little bit. So now you can see that we only see the screen side, and we no longer see our floor. So that's really

cool. I do want to go ahead and go up to my camera that I created. Go to background images and I'm just going to change my opacity up. Also, now is a pretty good time to go ahead and import some lighting in our scene. So I'm going to go up to the World Properties, go to color, and change that to environment texture. And then I'm just going to open up the HDRI that I have linked down below. Okay, so let's just click that, open the image, and now we actually have some lighting in our scene. So now we are actually ready to play around with the scene. And so for my actual shot, I imported in a train model and then actually animated that and stuff. I'm not really going to be doing that today since I did use paid add-ons and everything. I'm really leaving this open to you guys. I want to kind of just show you guys how to get the screen kind of coming out and then moving down. So let's go ahead and set that up.

the room texture in here. Uh, let's go and bring another kind of window out here. Then go down to the Shader editor, hit in to hide this little panel over there, and then let's go ahead and mess around with some of the interior room. So I'm just going to go to slot one, which is our room, and then let's add a checker texture in here. We're just going to have a little bit of fun with it, place that in there. So now we have it textured, and there. I'm going to go ahead and go to tab, hit Au U, and then smart UV project, um, just so it, you know, projects it. Actually didn't change, so, um, you know, it looks fine depending on what you actually need. I'm just going to mess around with the scale a little bit, get something like that, that looks pretty cool, and then let's play around with the roughness, maybe move that down a little bit, make the metallic up, just so we kind of have like a cool little room in here. I'm actually going to

change the that up just a here and then we'll just play around with it like that. So now we have like kind of a little little bit of a reflective kind of checkerboarded room going on there, so pretty cool effect. And of course like all my tutorials I've been doing recently, uh, let's go ahead and add Suzanne. So shift a mesh monkey and then let's just place her kind of in here. And we'll even do something cool with her and make her kind of act like she's popping out of the screen a little bit. So let's just move her on thetive 90° so that she's kind of facing out here. Um, so for her, let's let's go ahead and just make her. I kind of want to make her like a gold material. So let's see if we can do that. Uh, yellow color metallic all the way up. Let's go ahead and add a subdivision surface modifier on her so she's more smooth. Uh, so we'll do like a

three so now it's a little bit more smooth let's change the roughness down and so now we have like kind of a cool little gold color here. Of course you play around with it. Again for my scene, I did do a train kind of AD advertisement type thing. But this is where you can really get creative so just have some fun with it. Now that we have all those materials correct, let's go ahead and make the material of our actual screen. So I'm going to come out here and we want to select this. Let's add a new material. Just going to name this screen. And then for the screen, I want it to be this black color. Maybe not all the way back black, maybe like a little bit of gray. And then I do want the roughness to be down, so something like that. And then we'll do the specular down like just a little bit because some of the highlights are a little harsh over there. So that's looking pretty good. Of course, you can play around with the lighting of our scene so

let's go to the World Properties. Uh, we want to have the node wrangler add-on installed. So, if you come up to edit preferences, it comes automatically uh with the blender. Uh, honestly, it should be a default uh kind of enable enabled add-on right now but uh you just want to make sure that this is kind of selected. Then what we can do is hold contrl and T to add a texture coordinate and mapping node. And we want to go ahead and play around with the uh Z rotation just to get a kind of cool result here. Uh, if you want it kind of shadeed or not, it's really up to you. Kind of want it like half and half. Maybe I'm going to play around with Z. Maybe even a little bit with the Y. Something like that that looks pretty cool actually. I want to get rid of that line over there. There we go. So, uh, here's you know the numbers I use. Of course, play around with it yourself. But let's go ahead and save that. And then uh, for the screen, uh, what I want to

go ahead and do is I want to animate this to kind of you know reveal the actual um you know monkey and everything behind it. So what we want to do is I want to go ahead. We'll give it like 30 frames where it's just kind of the screen. So I'm going to go ahead. I to set a location key frame. And then I want the screen to basically uh kind of go backwards. And so let's G and then shift Z kind of move that backwards. And it depends how much you want it to move. Uh for you this is looking pretty good. For me this is kind of where I want it to stop there. So again I just location. And then of course we want to add one more key frame. Uh I'm just going to go you know to frame 60. Go G Z move that down there. And then I location. So now we basically have the screen kind of going backwards and then revealing it down. It actually goes down a little too fast for me. So I'm going to bring this uh frame

way out so it increases uh increases the time it takes for it to go down. That looks pretty good. Uh what you could also do is hit a select all these and if you want to play around with some of the interpolation modes, I actually find that some of them um are pretty cool. So if you want, for example, if you want it to bounce, so if we select bounce, you'll see that it basically bounces uh the screen up and down. So it's really just whatever type of effect you want. I actually like the default one, so I'm just going to go back to interpolation mode bezier right there. And so now we have that animation. Of course, we do want it to close at the end, and so I'm basically just going to copy and paste the key frames that we have in the reverse order. So let's copy and paste this right there. Going to grab this key frame, place that right there. And then of course, we need to grab this, copy and paste that over there. And so now we have the screen basically uh putting back.

into place at the very end, and so of course, play around with the animation. Get something that looks pretty cool. Um, I will say if you guys do do anything kind of on your own, uh, with this or any of my other tutorials, I'd love to see them. So if you do post them to YouTube, make sure to tag me or send me a comment on my channel so I can check them out. Anyways, let's go ahead and play around with some of the animation for the actual monkey. I want it to constantly be rotating, uh, kind of on its axis. So I'm going to come over to the object properties, and then you'll see all of these settings over here. Uh, if we play around with some of these, you'll see, uh, this is the Z rotation. Uh, and so what I want to do is I kind of want the monkey to be just rotating on the z-axis constantly. And I could, you know, set animation keyframes for that, but what I want to do instead is I want to go ahead and set an expression. And so if you H

type in hashtag and then hit frame. Uh, that'll give the frame number. And so, if we go and play that, that's way too fast for what I want. And so, I'm just going to divide that number. So let's hit divided by 10. Let's, uh, decrease it by 10. And so, that's much slower, much cooler effect. I'm actually going to take that number and, uh, make that the inverse. So I'm just going to make negative frame. And so now it's actually, uh, rotating in the opposite direction. And, uh, that's, you know, much cooler for me. So now that it's rotating, let's actually have it come out a little bit. So, uh, right here, I'm going to set, I, a location keyframe. And then we'll say like frame 110, uh, we're going to have the monkey actually kind of come out of the screen. And this only works at this specific camera angle. You know, if you were actually standing kind of like over here in real life and looking at the screen, it wouldn't really give the

same effect because again it is being projected on a screen so you do have to keep that in mind. Um let's go and shade this smooth. I'm going to go hit G then Y or sorry X just move her out a little bit. The one thing we do want to keep in mind is that we don't really exit the bounds of our actual screen. And so I'm just going to move her like out there, right there. And so you'll see the edge will never kind of interact with the edge here. Let's go ahead and I say a location key frame and I just want to make sure you will see that the ear kind of pokes out here. So we actually did it a little bit too far. So let's go back and I want to G Y or X move that back just a little bit. Then again make sure you set a location key frame and now you'll see that it doesn't you know go outside of the bounds of our actual screen. And so again we just

want to kind of reverse that effect so and so the screen closes right there. So let's just go ahead and copy and paste this Frame there. And then I also want it to go back to its original position before the frame closes, like right there is where I want the uh frame to go back or the monkey to go back. And so basically, as soon as it opens, it kind of goes out a little bit, you know, doing its little twirl. And then it will go back in before the screen closes back. And so that is looking pretty cool. That's all I'm really going to be doing for this uh tutorial 'cause I don't want to get too complicated and everything, uh, since there's a lot of stuff you can do, um. And so let's go ahead and save our project. And now we need to do some compositing. And so we can come up here to the compositing tab. If we hit use nodes, we have this render layers to our composite. And then with the node wringler add on.

we can hold shift, control, and click, and add a viewer node. Nothing is being viewed, and that's actually because we haven't rendered out anything. So let's come to the middle here. Let's go to like 130, and then render out an image. Okay, so here's our rendered image. One thing I do notice is that we actually still see the screen down here, so that is a super easy fix. Let's come out to layout, and then you'll notice that we have this holdout kind of material on here. It actually doesn't go to the very bottom of the screen, so let's just go ahead and tab, select this bottom kind of edge over here, GZ, move that down, and now it shouldn't be rendered. Um, so that was my mistake. Next thing we need to do is go back to compositing. Let's go ahead and combine the footage back on the bottom of our actual CGI. So if I add a movie clip node, I want to come up here and then open up the image sequence that

we have so once you have your image sequence. Let's hit a to open the clip. And so now we need to use an alpha over to combine those back. It's basically just combining them like any other kind of CG program would as a layer. And so let's just combine them like that. And then if we shift control click like there, we can see that we have our CG actually in the environment and it's looking pretty cool. Now one thing we will notice is if I go to the movie clip and select that, we do have some people standing right here that would actually block it. And then we also have the kind of this lamp post that would be blocking it too. And you can get real into the details and stuff like for example this lamp post in the back, you can also do that but I'm not really going to be nitpicking all of that. So let's go ahead and get some of those out. Now for the people, I went ahead and went inside of After Effects.

and actually use the Roto brush tool to actually um get a hold out, and so I'm not going to be going over how to actually Roto out them. I went ahead and already did that myself, so you can go ahead and download um that hold out, uh video that I did. So I'm going to go ahead and shift, add a uh new movie clip node, and then let's just open up that movie clip. Okay, so here is the hold out. We're going to open that up, and if I view that, it's basically just a black and white image of our um people right here. It's not the best. I could have uh made it a little bit better because some of the hair and stuff were giving you problems. If you, you know, zoom in here, I try to do the best uh for the hair, but of course, if you did want to make this uh kind of professional look, you'd spend a lot more time on the actual um, you know, Mass section. Let's come, uh, I'm going to set this, uh, kind of image to be

our factor of our Alpha over and so what that's done is it's basically taken all of our white uh pixels down here and put it to our uh you know applied that on top of the alpha over and so that's actually the uh wrong effect that we want. We actually want to invert our image so I'm going to go ahead and invert the color there and so now that's doing the right thing. It's basically just masking out the people over here uh and so that was the easy part since I already really did that for you guys. Now for the pole we actually do need to add a mask inside a blender so don't worry that's actually super easy inside a blender. So let's come up here to plus VFX and let's go to the masking section and we again just need to open up our clip it's uh this PNG sequence and then what we want to go ahead and do let's go to the first frame and before I do anything I do want to like track this because there's ever so slightly a

little bit of movement um like the wind either affecting the camera or or the pole itself. So I do want to kind of track that first. So I'm going to go ahead and go to the tracking section and I uh all these settings are fine here since again we're not really moving throughout the scene. So it's going to be a super fast track. Let's go ahead and prefetch the footage uh just so it prefetches all of the frames in our cache. And then once that's done, we can go ahead and control click this little white dot here. And that's going to be uh what we actually track. And then if we hold control t, that'll start track tracking it forward. And it actually tracked it all the way to the end. And so now that we have that little tracked, we can actually parent that to the mask that we're going to create. So let's go back to the masking section. And then first thing we need to do is go ahead and add a new mask. So click that up here.

you can of course name it whatever you want, and then in uh, like in the tracking section, we need to hold control and click to actually start making our masks. Now I'm going to do a super kind of rough masking job, of course, uh, for you, you would want to really go in and make sure the mask is, you know, exactly kind of lining up, uh, to the pixels of the actual scene. Okay, and so once you're at the very end, let's just connect them back up, so click that, and now we have our completed mask. Again, you do kind of want to spend some more time inside of your masking than me because, uh, mine looks very ugly, uh, and I'm missing a lot of the sections, but of course, just play around with it yourself. And so now that we have this, you'll notice that it's not tracked through our scene, and if I kind of zoom in here, you'll see that bouncing I was talking before, so we want to try to mimic that as closely as possible. So in the first frame, we're going to select a

to select all of our points, and then if we uh shift-select that, we can go ahead and control P, and that'll parent those two uh to the tracker. And so now you can see our mask is moving along with the tracker and bouncing uh, so it's giving us a pretty good track um and mask for that. Now that we're done with that, uh, we can go back to the compositing section. We want to go ahead and add uh that in, of course. So let's shift-a, add our mask node. Just going to select that right here and then uh you could use motion blur, but since it's not moving around a lot, I'm not going to bother with that. Uh, and now we need to combine that. I'm going to use a mix node instead of alpha over, so mix right there. And let's just place those two right there. And the reason I'm using a mix is because if we actually view that, we'll see that we have our uh lamp post, but we actually don't have our people anymore, and that's

actually because by default it's using kind of the Alpha and the mix operation. We actually want that to be an add operation so that'll add the two together. And so now we have both of our mask in. Let's place that into the invert color again because, uh, we want this, uh, you know section to be black and everything else to be white. And so now with that plugged into our Alpha over, finally we have both the people and the actual lamp post cut out. Uh, now let's do some superfinal touches, uh, to actually blend in some of the shot. Uh, now what I noticed is we have a lot of noise. So what I'm actually going to do is I'm actually going to come over to the view layer properties, go down, check D noising data, and that'll add some new nodes over to our render layers nodes. Go ahead and add a d noise node, plug that there. I need the D noising normal and the normal and the albo into the alido. And so now let's go ahead and render out.

that image okay. So, that looks much much better. Uh, you will see that we have some lines kind of on our mask and everything. And so, let's uh try to feather that just a little bit. Uh, we have this feather section. I actually believe you have to come up to the MK section. And then, if we come down here, uh, you want to make sure you have every uh thing selected. So, hit a. And then, we can scale the feather. And I just want to kind of scale that down just a little bit. You can see these green lines are basically scaling that down. And so, I just want like a little bit. You'll see uh right there that looks pretty. All right, let's see how that looks in the compositing section. So, that actually didn't fix it. Let's go back to the masking section. I honestly might just pull. Let's go to the first frame. I might just pull this kind of over a little bit just so we don't see kind of that lighting again. Uh, this is where I would take it in another program and do it.

there, but this is uh a pretty e like easy workflow um inside blender to get a pretty all right result. Let's go ahead and just blur it a little bit. So gajin going to go to fast blur and let's just blur it like literally like let's see five pixels. That actually might be too much um and so we'll see that yeah so that's a little too much. So I actually just blurred it uh one pixel and that seemed to kind of get some of the lines out. So that's what I'm going to stick with for this. Uh what I do want to do is Match the black levels. They actually don't look too too bad right now. Uh but what I could do is I'm going to go ahead and add a color balance node set this to be offset power slope and then I'm just going to brighten them ever so slightly because you got to remember in real life it would actually be on a screen and so of course um you could like do a screen blend.

but they uh in our original thing they were actual ads on here so that that won't really work so forget I said that let's just uh kind of brighten this up a little bit. Okay so you can see uh adding this node basically just brightens up uh some of the black levels just a little bit. All I did there was just play around with the power and so of course uh let's try to blur this uh matching the actual scene. It's not going to be super big of a blur but I'm kind of just looking over here trying to match that. Let's just go ahead shift a add a blur node just going to place that there and I'm going to make that we'll say a five for now again um just test that again we don't want too much of a blur um like that might be a little too too much let's actually set it down to like a two pixel and that should be good enough okay so that matches the blur of it a little bit better. Of course you can

play around add some more nodes. Um, I know it's a little disorganized up here, but that's the basic kind of workflow. Um, let's come back out to the layout tab. Uh, and I do want to go ahead and come over here to the render properties. I want to set motion blur on, and then we can go ahead. Uh, let's decrease some of the light paths. Just set all those to like four. So just drag select that, set that to four, and that shouldn't affect our scene that much, I believe. Um, since we don't have that many bouncing, yeah, looks pretty good. Let's do fast GI approximation just to get some nice speed going. Set this down to two for now. And if I turn that off and on, you'll see that it doesn't really affect our scene, but it'll save us some performance times. And then let's turn the refractive. Uh, we can leave the reflective caustics on, but refractive, we don't really need. And then finally, all that we have to do is set up

our output property so come over here depending on how long it's going to export. I'm actually going to save this as a PNG sequence just in case blender crashes. I don't want to have lost all my product progress and I can just reset the frame number down here. So of course save that in whatever kind of file location that you want. And then I'm going to save it as PNG. You can also do exr which is kind of like the industry standard if you want. It'll save some kind of color data and all that stuff. It'll be a little more high definition but of course how higher file size. We're not going to be rendering anything with RGB or sorry with Alpha so we can just set it to the RGB section. Then compression down to zero. And once you have all of those kind of set up we can go ahead and go to render and render the animation okay. So here's the final result that we got. Of course you can play around with it on your own and get.

a really cool result. Like, for example, in my original shot, I had a train going past the camera. And so, it's basically the same workflow, give or take a few things. But anyways, I hope you learned a lot and got a pretty cool result that you can apply to your own visual effects. But anyways, it'd mean a lot to me if you consider liking and subscribing. And I will see you in the next tutorial.

Stunning 3D Ads Using VFX in Blender

Jacob Zirkle

블렌더에서 올바른 초점 거리로 씬 만들기

이 튜토리얼에서는 fspy를 사용하여 올바른 초점 거리로 장면을 회전하고 생성하는 방법을 보여줍니다.

이 과정에는 Y축과 X축을 설정하고, fspy 프로젝트를 Blender로 가져오고, 기준선을 기반으로 화면을 모델링하는 과정이 포함됩니다.

목표는 장면을 정확하게 일치시키고 3D 환경에서 화면을 모델링하는 것입니다.

화면 안의 방 모델링하기: 단계별 가이드

이 튜토리얼은 원본 화면을 숨기고 별도의 방 오브젝트를 만드는 등 화면 내부의 방을 모델링하는 과정을 안내합니다.

음영 문제를 해결하고, 렌더 속성을 설정하고, 홀드아웃 머티리얼을 생성하여 화면 없이 방이 제대로 렌더링되도록 하는 방법을 설명합니다.

또한 이 튜토리얼에서는 이상한 음영 문제와 씬의 렌더 속성에서 필름 투명도를 조정하여 문제를 해결하는 방법도 다룹니다.

블렌더에서 카메라, 조명 및 텍스처 조정하기

불투명도 변경 및 장면에 조명 추가하기.

방 텍스처를 설정하고 실내를 조작하는 방법을 시연합니다.

3D 모델에 금색 재질을 만들고 화면의 재질을 거칠기를 줄인 검은 회색으로 조정합니다.

원숭이 공개 애니메이션 만들기

애니메이션은 화면이 뒤로 이동한 다음 아래로 이동하는 것으로 시작하며, 속도와 보간 모드를 조정하여 다양한 효과를 낼 수 있는 옵션이 있습니다.

그런 다음 튜토리얼에서는 표현식을 사용하여 원숭이가 축을 따라 지속적으로 회전하도록 한 다음 특정 카메라 각도에서 화면 밖으로 나오도록 하는 방법을 보여줍니다.

마지막으로 크리에이터는 튜토리얼을 기반으로 시청자가 자신만의 애니메이션을 공유하도록 권장합니다.

화면에서 CGI 투사 조정하기: 단계별 튜토리얼

화면 바운드 상호 작용을 피하기 위해 CGI 투영을 이동하는 것이 중요합니다.

CGI 위치에 대한 키 프레임을 설정하고 화면 가장자리를 초과하지 않도록 해야 부드러운 효과를 얻을 수 있습니다.

알파 오버 노드를 사용하여 CGI를 영상과 합성하고 환경의 장애물을 처리하면 투영이 완료됩니다.

블렌더에서 마스킹을 위한 로토 브러시 도구 사용

로토 브러시 도구는 동영상 클립 노드에 대한 홀드아웃을 생성하는 데 사용되어 사용자가 원하는 요소를 마스킹할 수 있습니다.

이 과정에서 움직임 추적을 포함한 홀드아웃이 수행된 후 폴에 마스크를 추가하며, 정확한 마스킹을 위해 세심한 조정이 필요합니다.

완성된 마스크는 장면의 픽셀과 움직임을 정확하게 일치시키기 위해 추가 수정이 필요할 수 있습니다.

블렌더에서 합성 워크플로: 단계별 가이드

트래커와 마스크 노드를 사용하여 가로등 기둥과 사람을 부드럽게 추적하고 마스킹하는 프로세스를 만듭니다.

노이즈 제거 노드를 추가하여 이미지의 노이즈를 줄이고 페더 기능을 사용하여 마스크를 다듬습니다.

컬러 밸런스 노드를 사용하여 이미지를 약간 흐리게 하고 블랙 레벨을 조정하여 보다 사실적으로 보이도록 합니다.

블렌더 합성에서 블랙 레벨 조정 및 블러 추가하기

"밝게" 노드를 추가하면 장면의 블랙 레벨을 조정하는 데 도움이 됩니다.

블러 노드를 추가하고 조정하면 약간의 블러 효과를 얻을 수 있습니다.

모션 블러를 설정하고 광선 경로를 최적화하면 성능을 향상시킬 수 있습니다.

프로젝트를 특정 출력 속성이 있는 PNG 시퀀스로 저장하고 애니메이션을 렌더링하면 프로세스가 완료됩니다.