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Okay, First things first three if far footage inside of After Effects.

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This is what we're looking at.

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And we're gonna go in here and we're going to clean out all these cracks.

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And it's fairly simple,

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just couple of steps to go through.

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So I'm going to bring this into a new composition. There we go.

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And I'm just going to rename this,

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hit Enter and rename it Mastercam.

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Stay organized, move it to compass.

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Okay, So inside here the first thing we're going to want to do

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is our footage and we're going to use Mocha.

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So it will go up, makes sure your footage is selected.

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Go to animation that a tracking bars Effects mocha,

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no effect on palm up here, click bokeh.

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Okay.

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And as we scrub through here,

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we have our footage again.

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And I'm just gonna start from the very beginning.

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And I click this Spline Pen tool here.

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And we're just going to click in circle,

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this whole block as,

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this whole, entire block as a whole.

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And the points, every time you click,

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we're looking for high contrast points that makes it easier for the tracker to

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stay aligned and generally follow the shape of what you're tracking.

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It's right now we have a plane that's contract this whole face

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here and go down the track and hit track forwards.

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So let's take more time depending on your computer specs or

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how many points that you have placed down more points just named.

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It's going to happen to compute a little bit longer.

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Okay, and once it's finished ring you see it tracks along pretty well to

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little testing and do is go over to your left side and do Insert clip.

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And you can go down to logo, you know,

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put a fake little logo in there,

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maybe scrub through here and I'll show you how attractive it is.

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So double-click on your layer.

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Let's call this track Control S.

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Make sure you save, hit the little excellence you're done.

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Now in mocha and After Effects in the Mocha Effect, good at tracking data.

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Create tracking data.

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And by default usually this is Had to being blink.

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You want to make sure that this little gear icon is here on your track that you made.

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Click.

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Okay, and we're going to go to Export options, go to transform.

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And then before we do anything,

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go down to composition.

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Right-click New Null Object.

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And we're just going to call this tracking data.

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Go back to your footage and go to Layer to x cars to change it to tracking data.

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Apply Export, Snap few,

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select your null and you hit U on the keyboard.

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It shows really key friends,

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shows what your tracking is doing.

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Cool.

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So we're halfway there. Next thing we're gonna do is scrub through.

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And you want to find,

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in this situation, we're trying to get rid of these cracks.

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So you want to find a still that has all of them showing.

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So you can kind of see on the right side here,

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we lose that crack back and forth.

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So at the very beginning it looks like it shows the most of it.

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So this will have everything that we want to change.

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So it's like your footage Control D to duplicate it.

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And you can get rid of the Moka from that layer.

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Hit Enter and rename it to clean plate.

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So I'm going to do is right-click time and freeze-frame.

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So now this whole layer is frozen in our footage behind it.

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So now we're going to do is make sure you clean plate selected,

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go to layer, pre-compose and changes to underscore a pre-comp.

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Make sure move all attributes are selected in

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the timeline where we stopped the footage and did a freeze-frame.

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It was at the very beginning here is where I did it.

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So at that point, you can select your footage,

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link it to the tracking data.

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So now we have our footage moving again,

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which can be a little odd.

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And if I add a tint effect,

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it'll show you what's happening here.

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So our footage is moving with the original camera movement,

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but that's still frame is tracking along with it and as the camera moves up,

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it's revealing more for their cell wasn't in the original frame.

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So now you can go into this composition and this is a still frame.

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And we can make all of our changes.

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So let's start by going in,

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selecting, go to Window.

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And you're going to want to bring up your paint here and your brushes.

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So your paint and brushes,

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select your footage and when to use the clone in this instance.

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So once you select it, you have some available options here.

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Go into paint. Inside your paint options,

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you wanna make sure that duration is set to constant.

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Sometimes it'll be single frame going to be constant.

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And so we're gonna start at the very beginning of that being the frame here.

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And zoom in and with your clone tool selected,

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double-click on your footage,

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and now you have a little brush tool.

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Nearly the default one is fine because we're just using our mouse right now.

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But if you go to brushes, you have more options to change size,

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change the feather, all that.

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Default is totally fine.

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And if you hold Control and click and drag and you can scale up your brush up and down.

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So that's what I'll be doing most time as I go through here.

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So if you haven't used the clone tool before,

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what you do is you hold Alt on a section.

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If you hold Alt and you can move your mouse around,

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and once you click, you will now reference those pixels.

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So if I click this little black spot here and I start painting, it'll duplicate it.

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It'll copy it over to undo that.

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So now we're just gonna do is go through and Alt click here and start painting away.

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As you pull, I'm holding my mouse down.

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As I'm painting theorem,

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you let go and now you have a strip of paint on that section.

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And it's fairly easy in,

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depending on the subject that you're painting,

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has enough texture in there to look like this is natural.

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So I'm just going to keep moving forward, continuously, Alt,

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clicking and letting go and letting it. Let me finish.

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Because if you mess up and you go through

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this whole thing in one stroke and you have to finish an undo it,

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then you can have to keep redoing a whole, entire length.

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So just make sure you continually work through a chunk that you like.

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And then let go and then you're good.

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So that part is done.

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So now we'll go up here.

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I'll click on the left of it,

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just kinda paint over the crack here.

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And this situation which kind of bounce around.

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Different parts and now we've already filled him at home tired, get those right there.

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So I'll click.

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Continue, continue on.

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And it's better to keep it small if you do big chunks.

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If I make a really big brush,

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I click here and I just go through and duplicate all this.

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You can see it looks duplicating.

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It looks looks like it was blended or duplicate it up.

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And it generally just looks messy and it shows where you have maybe done

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the work because the goal in this situation

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is you don't want anyone to know that you've done this.

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So continuing on Through you pick up the cracks.

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I want to go down now.

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You could do this in Photoshop or even with a tablet if you have it.

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But generally this, I generally find that's a little bit quicker.

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And having the round trip back out of

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a different program is a little bit quicker sometimes.

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And it's always good to know how to do it without leaving the program.

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Say you have two blushes right there that look like they're very obviously duplicated.

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And I will then go back over,

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select this part, just get rid of one and I eliminate.

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So bringing this back down again.

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And keep going.

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Let's get rid of this whole one hand here.

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And even on the side here we get that crack.

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We now look at that. You can get this one here too,

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just because it's so this is so easy.

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Let me go. Now I have our block here that has significantly less imperfections.

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So go back to your arrow,

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which a composition in here we are in our clean plate com.

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And if you select your paint layer here, turn on and off.

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You can see all the work that was done.

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So as before, and that's thereafter, much cleaner.

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And again, this is still calm,

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so we go all the way back up

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here that is attached to eye tracking data as you move through.

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Distracted. And so our next thing is since this is

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the only part that we want to worry about that had the cracks on it.

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We can just go in here and uncheck roto busier.

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And we're just going to draw a square here.

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So we can see where you want to cover up all the cracks that you'd already painted out?

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See me did it all the way up there. Somewhere?

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Yeah. We could.

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Now, here's what we have.

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We have this clean plate that is tracking,

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bouncing along to the footage.

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So at this point, um,

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so and now we have our footage without all the cracks all over everything.

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We have been after.

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This was the original.

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Softer.

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And we'll say, it's little tricks like these that are going

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to help sell bigger effects because once you can layer things up,

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if you add more stuff to add to this comp,

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no one will ever be able to notice that.

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No one will ever be able to notice that there is there should

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be cracks here or there were or it just looks like concrete.

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You'll never even know Directors, happy prisoners heavy.

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And you've potentially saved reshoot.

