Adding Noise & Grain back into your VFX

by Garrett Fallin on May 10, 2016

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So you’ve just spent hours, days, possibly even weeks arduously creating a visual effect. It might be a CG animation, matter painting, or a simply cell phone screen – and you’re ready to comp that bad boy into your final scene. So you color correct, motion track, and everything else you think necessary. But wait. Something looks a bit off. It doesn’t quite gel with the rest of your scene. The solution? Add Noise and Grain!

Noise is an artifacting seen when shooting on video, whereas Grain is an artifacting seen when shooting on film. In either case, when you comp your VFX, you will want to be sure to add this artifacting back into your work in order for it to appear more naturally as a part of your scene. It may appear to be subtle, but the eye picks up on these things, even subconsciously, and as you perfect your craft, it’s a good habit to get into to add grain back into your VFX before exporting.

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I’m going to show you my technique for adding grain quickly. To my surprise, after working professionally in the field close to five years, I couldn’t find any samples of adding grain when I searched for this technique online. So, for sake of variety after my effect break down, I will supply some alternative methods I also found online that more or less achieve the same goal.

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For my technique I’m using After Effects CC. With your layer selected go to Effects > Noise & Grain > Add Grain

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This will bring up a set of tools and controls for you in the Effect Control Panel

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For my magic recipe, after changing the view mode to FINAL OUTPUT, I adjust the intensity down to .1 >, the size to .08 >, and the softness to 1.5

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From there you can tweak as needed. For most general purposes, that is all you will need to get the job done. As I zoom into my comp I can see there is a nice grain running in through the grays and blacks that help blend the whole image together nicely.

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Now, beyond the technique I just described, there are a few other methods out there. For instance, there are some basic grain overlays that you can download for FREE here that will allow you to simply add above your layer, change the blend mode to OVERLAY, and adjust the opacity to your taste. Here is a video giving you the steps as well:

Otherwise, another method within After Effects is Match Grain (versus Add Grain which is the method I use). In my opinion, Match Grain doesn’t work well with a heavily compressed image or video. But if you are working in RAW, then this might be the best method for you! Check out the tutorial here that breaks down the effortless process of using a Grain Card in your composite to create the end result you are looking for.

Finally, if you would like to read more into the science of why noise and grain looks and performs the way it does, you can check this article here.

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Morph Cut Transitions

by kesakalaonu on December 4, 2015

NLEs

Jump cuts can be a pain to deal with when cutting interviews and other types of video projects. Sometimes your talent talks too long or you need to hide unnecessary motion. All conventional wisdom says the best way to hide a jump cut is to use a cutaway or b-roll. I wholeheartedly agree and use that wisdom quite often in my own work. However, there are times when those options don’t exist and you are left with jarring jump cuts that can distract or interrupt the piece. Thanks to technological advances in editing software, there are ways to hide a jump using a Morph Cut transition. I’m going to highlight how each of the three top NLEs on the market are able to do this.

Avid Media Composer Fluid Morph

The Fluid Morph effect predates any other morph cut transition that has been brought to the market lately. In this tutorial, GeniusDV master trainer Jon Lynn shows us how to use the Fluid Morph effect to hide jump cuts on an interview clip. First, he makes blade edits at certain points, and then adds the Fluid Morph effect. In the Effect Mode panel, he changes a few parameters and sets the duration to three frames long. After a quick render, you see that the Fluid Morph was able to hide the jump cut in the interview. From what I know about diehard users of Media Composer, this effect exists in many of their favorite effects bins.

Adobe Premiere Pro Morph Cut

Introduced back in April 2015, the new Premiere Pro Morph Cut transition works to hide jump cuts between edits. Located in the Dissolve category of Video Transitions section, this transition analyzes in the background and attempts to morph frames together to create a seamless transition from multiple frames. From personal experience, I’ve found this transition works best on interviews with static backgrounds and not a lot of motion from the talent. Otherwise, it can be a hot mess when applied. Overall, I see this transition getting better with time as Adobe engineers improve the code base.

Final Cut Pro X mMorph Cut

This recent release from MotionVFX brings Morph Cut transitions to the world of Final Cut Pro X. For just $59, you can salvage interviews from long pauses, stutters, and mistakes. The transition works fluidly to fill gaps and instantly smooth out shots. I haven’t had a chance to try it out myself, but based on the demos I’ve seen, this seems like a must-have for editors who do a lot of interview work. With all the innovation that FCPX has brought to the table, I was a bit surprised that it took this long to finally get this plugin. I’ve seen tutorials where it was possible to do this but it seemed rather tedious in execution. It’s good to see that FCPX has this ability.

From what you have seen here, the Morph Cut method of hiding a jump cut can work depending on the footage and the circumstances on which you use it. While not perfect by any means, it is a method that can be called upon to smooth out an interview or other type of video project. Try using the Morph Cut method on your next video project and see how it effects your final edit.

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