Help removing shine from forehead in AE

P

Peter Reynolds

Well-known member
We recently shot a video for a client that has some shine on their forehead.

Is there's a simple way to remove (or reduce) the shine?

I know how do to it in Photoshop, but I'm an AE novice. Here's a screen-cap from the video - you can see the two small shiny circles on his forehead.

1265126970.jpg


Any help would be greatly appreciated.

Thanks in advance.

Peter
(formerly Me. Myself & I)
 
Just spoke with the client. I'm now under a time crunch.

I know it's a question of creating a matte, using the clone stamp tool, then tracking
that matte to his movements. But the specifics elude me.

If someone could provide a step-by-step, it would be an enormous help.

Thanks.

Peter
 
Not the Merriam-Webster definition of helpful. But funny none the less.

All joking aside. I really do need help with this.

Peter
 
Corrections like this have to be made during acquisition. To fix it in post you're looking at putting in some rotoscoping time.
I'd duplicate the layer, then mask the reflections. Then, on the rotoscoped layer apply levels, or curves to bring the brightness down.
I don't know of a faster way.
Shine on you crazy diamond ;)
 
If you know how to do it in PS then you can do it no prob in AE with the paint tools.
Or you could just mask and feather the middel patch of his forehead x2 and have it over the reflections.
 
Load frame into photoshop and fix it.
Inside AE track his head (I'd use mocha to do it, but in theory you could use AE trackers)
Parent the photoshopped frame to the track
Mask the photoshopped frame so that only the areas on his forehead show, animate those masks as necessary. Feather and blend them to taste.
Any problem frames fix with AE's paint and clone tools by hand.
 
I wouldn't track a still for this. If you do, keep in mind scale, rotation, matching back grain, etc.

This looks like a pretty easy source node. "Source Node" is what's done a lot for beauty fixes, removing pimples, etc.

Basically, dupe your video layer and move it up and over (not too far, as close as possible to the original) until a similar part of the forehead that isn't shiny is covering the shiny part. Then, do a simple roto around each shiny head part on a solid. Use that solid as an alpha matte for your new, repositioned layer, then feather your mattes as much as possible to blend things together.

You may have to play with your repositioning, use slight levels adjustments to match, etc. The nice part is, you can retain movements, reactive lighting, and grain.

I think if you check some of Kramer's early tutorials over at videocopilot.net he has a beauty tutorial that will show something similar to this.

Also, you can speed up your roto a bunch by using Mocha for AE to track each shiny part, apply the track as position data to a null (one null for each shiny part), then use that null as a parent for your solid with the rotospline. Odds are you won't even have to do much keyframing of your rotoshapes at all.
 
zoostory said:
I wouldn't track a still for this. If you do, keep in mind scale, rotation, matching back grain, etc.

This looks like a pretty easy source node. "Source Node" is what's done a lot for beauty fixes, removing pimples, etc.

Basically, dupe your video layer and move it up and over (not too far, as close as possible to the original) until a similar part of the forehead that isn't shiny is covering the shiny part. Then, do a simple roto around each shiny head part on a solid. Use that solid as an alpha matte for your new, repositioned layer, then feather your mattes as much as possible to blend things together.

You may have to play with your repositioning, use slight levels adjustments to match, etc. The nice part is, you can retain movements, reactive lighting, and grain.

I think if you check some of Kramer's early tutorials over at videocopilot.net he has a beauty tutorial that will show something similar to this.

Also, you can speed up your roto a bunch by using Mocha for AE to track each shiny part, apply the track as position data to a null (one null for each shiny part), then use that null as a parent for your solid with the rotospline. Odds are you won't even have to do much keyframing of your rotoshapes at all.
Click to expand...


Thank you Zoostory. That's a very detailed response and exactly what I was looking for.

msorrels, I was thinking of a similar solution myself before Zoostory's post. Great minds...

To everyone else, including members of the "if I had a time-machine I could indeed go back and fix it during the shoot" I appreciate your responses.

Peter
(formerly Me. Myself & I)
 
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I would do what they all suggested but if you had no time what so ever to do rotoscope and what not, I would duplicate the layer, down and dirty mask on the forehead, feather it then apply a small amount of blur. Won't get rid of the shine completely but will lighten it up in a quick spot. that would only work if it's not 64 bit
but you are better off doing what they already said.
 
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