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How To Do A Screen Replacement In After Effects - After Effects Screen Replacement Tutorial - YouTube
Channel: Motion Array Tutorials
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Oh, hi there! Jordan with Motion Array.
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And looks like youâve just caught me browsing motionarray.com
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While also looking at images of my adorable
cat, and video chatting with my wife.
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Stop Calling Me!
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If you call me again, i'll call the police!
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Haha, itâs actually not a touchscreen. And
Iâm pretty sure you realized that
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wasn't me actually cycling through those images.
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It was all added in post production.
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Thereâs a lot of different reasons why you'd need to replace a screen in After Effects.
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Maybe, you don't have the graphics ready ahead of time, or maybe you're on set
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and you just canât get the screen to look right.
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Or maybe getting the timing down perfectly is just too complicated.
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Whatever your reason, we're going to show you
how to do an After Effects Screen Replacement
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And we're gonna start with a screen that's
not moving, and then
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move onto a screen where youâre going
to need to track it all in post.
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But let's jump right into this effect!
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So here we are inside of After Effects, and
the first thing that weâre going to do bring
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in the footage that we want to work with.
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Our example here is a shot from Motion Arrayâs
Library and you can find the link in the description
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below.
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Itâs a person with their tablet on a table
and theyâre swiping through some imaginary
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images.
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Step one is simple, take your footage and
trim it down to only what youâre going to
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be using.
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Weâre going to be adding some effects that
will make After Effects work pretty hard,
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so the less unnecessary frames you have to
render the better.
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If youâre not sure if your decision on how
much footage youâll use will work, just
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use the B and N keys to set in and out points
and work with that.
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So for us our footage looks like this.
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Now what weâre going to do is create a solid
that will double as the screen so that we
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can line everything up nicely to start with.
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Create a new composition by going to composition,
new, composition.
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This will act as the screen of the tablet.
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I went ahead and looked up the dimensions
of the tablet used in the shot, but really
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even just an approximation will do if youâre
not 100% sure.
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So i found that the dimensions are 1024x768.
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But itâs vertical so itâs actually 768x1024.
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You might also have to uncheck the lock aspect
ratio to make this work.
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Name it so that youâll remember itâs the
screen composition and Hit okay.
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Cool, now this is what will appear in your
screen.
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Now weâre going to add a solid that will
contrast the green easily.
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So iâm going to click the swatch here and
choose red.
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Go back to your main composition and now letâs
drag your screen composition into your main
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project.
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Next weâre going to line up this screen
composition so that it matches the actual
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screen of the tablet. we need to add a Corner
Pin effect.
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Go to your effects panel and search for it,
and then drag and drop it onto your composition
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layer.
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When itâs highlighted, you should be able
to see dots on the corners of your layer.
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If not, make sure layer controls are checked
by going to view > show layer controls.
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Drag Corners really rough at first and then
when itâs closer do a really fine tune job.
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And itâll help to drop the opacity of your
screen composition so that you can see both
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at the same time.
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Get as close as you can, then iâd suggest
to scale up ever so slightly so that itâs
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just a tad larger than the actual screen.
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A little too big is better than too small.
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Bring opacity back up and then this is what
you have.
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Great.
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Now go into your composition for your screen
and this is where you decide whatâs actually
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actually going to be on your screen.
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For me its a picture of a dog.
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Drag it in above your solid layer, and resize it to fit your composition.
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Whatever you see here is what you're actually going to see on the screen.
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Then just hide your solid layer instead of deleting it
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instead of deleting it in case you need to
re-adjust things later.
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You can also add video if youâd like, and
itâll work the same.
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But for simplicity and because our example
is portrait Iâll work with this still image
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for now.
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But when we go forward here we can see we
have a problem.
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Our finger goes beneath the picture of the
dog.
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So thereâs two main methods to fix this.
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One is you can keep the photo on top and rotoscope
the finger to out of each frame individually.
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Thatâs not the method weâre using, but
if you want a quick touch up on rotoscoping,
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check out this video we did here, and the
link is in the description below.
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If you use that method, you can join back
in once you finish rotoscoping, but for us
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in this example, what weâre going to do
is take advantage of the fact that the tablet
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has a green screen, and weâre literally
going to work with it as if it was a green
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screen.
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So drop the screen comp below your footage
and now letâs search for the keylight effect.
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And actually in just one click you can see
that it does not too bad of a job.
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But thereâs a couple problems we need to
address.
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First, our green didnât entirely key out
as there were some strange glare and banding
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from left over.
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And then thereâs also some blur on the finger
as it moves through the image.
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So letâs take care of both of those.
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Go to the view and set it to screen matte.
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Now you should see a black and white representation.
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Black is transparent and white is opaque.
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You want to focus on the screen for now and
make the screen completely black as possible.
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So go down to the screen matte options and
move the clip black slider until its completely
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black and no banding.
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Cool.
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Now take the whites down until it becomes
a lot better too here outside the screen.
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In this case you donât have to worry about
the outside too too much because weâre going
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to be isolating the screen in a second.
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But in other cases itâs good to get everything
as black and white as possible.
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Great.
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Now letâs go to final result and we can
see that itâs looking better, but itâs
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still not amazing here with the finger.
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Thereâs some discoloration when it gets
blurry moving from right to left.
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So letâs go into another view mode.
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Status.
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And here we can see that we actually didnât
get all the screen completely keyed out.
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So letâs keep raising the blacks and get
our screen completely black.
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Then we can notice that our finger has a grey
fringe around it when itâs wiping across.
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This is that motion blur that makes it really
tough to distinguish for keylight.
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So weâre going to keep playing with the
clip black and clip white until we get it
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to a place where we reduce the grey around
the finger but we donât take away the actual
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realistic blur.
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Itâs a happy medium and itâs going to
take a little trial and error, but if youâre
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looking at my clip as a reference, I found
that clip black of 64 and clip white of 92
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work really nicely.
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Great!
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And lastly what Iâm going to suggest is
to take your locked despill bias and alpha
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bias and select a color thatâs in the actual
image youâre projecting onto the screen.
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And this is our final result.
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Itâs really looking great!
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But thereâs one other thing that it looks
like we missed.
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In taking away the green from our screen,
we also took it out of the plant here and
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the pens.
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So how to we isolate this to the screen only?
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Letâs make a mask by highlighting the actual
footage layer, and hitting q to bring up our
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rectangle tool.
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Then click and drag over the screen.
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It doesnât have to be perfect.
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Just so that it captures all of the screen
and excludes the other green elements.
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Now go down to your mask in your layer and
set it to none.
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So now weâve created a mask thatâs not
active, But we can tell only keylight to use
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it by going to inside mask, choosing our mask
1, and then hitting invert.
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Now our green outside of the mask is returned
and we still key out our image!
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And guys this is our effect!
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But letâs take it just one quick step further
by animating our picture off screen.
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Go to the first point of contact that the
finger makes here.
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Now dive into your screen comp.
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Your playhead should be at the same place
as in your previous composition.
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So set a keyframe for position then go back.
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Now move forwards to the place where you want
your image to be fully off screen.
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And dive back into your screen comp and keyframe
your image offscreen.
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Nice
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Now letâs see what it looks like.
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Set a beginning and end point with B and N
respectively to watch your footage on a loop.
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Itâs a start, but we need to make it more
realistic.
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Letâs go back to our keyframes and highlight
them and add an easy ease.
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Itâs getting better.
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And if you really wanted to finess it, you
can higfhlight your keyframes, and open up
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the graph editor.
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From here you can tweak your motion to perfection.
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But letâs add the finishing touch by going
to our motion blur option and selecting it,
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then enabling it for that image layer in specific.
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And if we place in another image for realism,
like that person is scrolling through images,
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this is what we get.
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And this is what we get for our final result.
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But if you study this image in depth, you
can pick out that itâs a little too perfect
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to be projected from a screen being recorded.
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In a pinch, this will be good enough, but
let me show you two more things that will
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really help to sell the effect.
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First, add a realistic blur by searching for
camera lens blur.
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Add it to your footage, and blur your footage
out really really subtly.
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Like only 1-2 pixels of blur.
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If you donât do this, its assuming that
your screen was in perfect focus on an amazingly
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expensive lens.
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The second piece might also not be as intuitive.
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Go to your comp for your screen and add a
white solid on top.
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Then set a mask for the solid thatâs going
to represent some fake screen glare from an
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off camera light source, cutting across only
part of the screen.
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Now add a subtle feather to it and drop the
opacity down really low, like below 25%.
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Do some minor touch ups to what you think would make it look realistic
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And now when we take a look at the final image
we can see that thereâs a little more of
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a realistic look to our screen.
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Itâs subtle but it makes the whole thing
feel a little bit more reel.
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And guys thatâs how your replace a screen
thatâs not moving.
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But what if your screen is moving.
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Letâs dive into a second example to check
that out.
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Okay so here we have a woman whoâs on her
phone and itâs moving around in her hand.
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To actually make any sort of screen replacement
work, we need to track the movement of the
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screen exactly.
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Now, if you can see all the corners of your
screen, a traditional perspective corner pin
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track could work.
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And we did a video on tracking objects using
after effects built in tracker and the link
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to that video is in the description below
if you want to learn more about using it.
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But when we tried doing a corner pin track
on our footage, we noticed that it was very
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easily disturbed by the womanâs hand here
interacting with the phone.
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So instead, weâre going to be using an incredibly
powerful tracker that comes with After Effects.
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Itâs called Mocha, and weâre going to
walk through together how to use it.
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Itâs actually easier than youâd expect,
so letâs go through it together.
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With your footage on your timeline, go up
to animation, and track in mocha AE.
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And Mocha should recognize the footage and
automatically set up your composition for
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you.
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But there is the rare occasion that it doesnât
recognize when you bring it in.
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If thatâs the case, whatâs probably happening
is that your footage format isnât recognized.
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So an easy solution is to just take your footage
as it is, and export it as an H.264 format.
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Thatâs one that mocha will read easily.
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Then bring it back onto your timeline and
keep going with our next steps.
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With your footage on the new mocha timeline
here, weâre just going to do a couple simple
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steps.
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Bring your footage playhead back to the start.
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Click the x-spline tool and now like the pen
tool in after effects.
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Click and make a basic shape around the screen
of your phone.
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As long as the phone is within the confines
of your mask, itâs pretty good at doing
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the rest of the work for you.
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Youâre just telling Mocha where to look
and the rough shape of your object.
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Once youâve finished your last dot, hit
the right mouse button to complete your outline.
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Great, almost done, but before we track, weâre
just going to make things a little easier
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for After Effects later on.
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Go to this tool called the show planer surface,
and click it.
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Now a box comes up and youâre going to use
this to tell Mocha exactly where the screen
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is on your phone.
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Just click and drag these corners here and
try to get it as exact as possible.
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Up in the top left corner you should get a
zoomed in view to help you be extra super accurate.
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This last corner we just have to estimate
by using the parallel lines here and get the
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borders as close as possible to the existing
boarders of the phone.
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Great!
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Once youâre done, go down to this track
forward button and click it to let Mocha do
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the work for you!
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Itâll take a little while, so you can take
a break and come back in a few minutes.
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But wat you should notice is that even interractions
like the hand moving across the mask wonât
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interrupt it at all.
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Becuase youâve specified the overall shape
of the phone, and the planer surface of the
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screen, the track is going to be incredibly
precise and it should stick very well.
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Now that thatâs done, you just need to tell
after effects to use the data that mocha just
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collected.
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To do that, weâre basically going to copy
and paste our findings into after effects.
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Go to export tracking data, and choose âafter
effects corner blur supporting motion blurâ,
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and then when you hit copy to clipboard, youâve
basically just copied a bunch of information
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and the next time you paste, it will paste
all of the information Mocha collected.
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So go back to after effects, and letâs just
quickly set up a new Solid to double as the
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screen.
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Right Click here and go to new, solid.
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Letâs make it yellow so that itâs really
easy to contrast with the blue of the phone.
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Cool.
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Now letâs pre-compose it and label it so
we know itâs our screen composition.
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Now we need to bring our playhead all the
way back to the start.
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This is because the mocha data was measured
from the first frame.
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Now when we go to our transform properties
of our screen composition, highlight it, and
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hit control or command V to paste.
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All our tracking data should now be pasted
to the composition with the yellow solid.
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And you can play your footage back to see
that itâs sticking incredibly well!
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Itâs lined up perfectly to our phone screen.
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And guys thatâs honestly the only part thatâs
different from our previous still example.
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From here on out weâre just going to blaze
through the same process that we did for the
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still tablet because we donât have to worry
about the jiggling motion now.
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Letâs add in our video here in our screen
layer.
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Drop the screen layer below our footage layer.
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Add a keylight effect.
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Key out the blue.
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Mask around the screen.
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Set the mask to keylight.
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Tweak the blue key.
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And animate our footage to be a little bit
more engaging, making sure to enable motion
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blur.
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And top it all off with a lens blur a little
bit of fake screen glare.
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And guys that's how you replace a screen in
After Effects.
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I hope you found this video helpful. If you did,
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Hey what's up! Andrew Kramer here!
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Weâve got lot's of other tutorials on after effects over at motionarray.com
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And if you wanted to use any of the stock
screen videos in this tutorial, weâve got
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the links to those as well as a list of even
more stock screen videos in the description
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below.
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And make sure to subscribe to our channel
and click the bell icon so that you never
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miss whenever we post.
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Thanks so much for watching and I canât
wait to see you in the next video!
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