1. The Nuke WorkflowWelcome| 00:00 | This is Steve Wright, welcoming you to
my lynda.com Nuke workshop tutorials.
| | 00:06 | In this introductory Nuke workshop,
we will be learning all of the basic
| | 00:09 | operations needed to build a shot, including
keying and get an overview of the 3D compositing.
| | 00:15 | There is also a strong emphasis on those
aspects of Nuke that make it unique, so
| | 00:20 | that with these core principles
understood, you will be well equipped to build
| | 00:24 | on them yourself afterwards.
| | 00:26 | Nuke runs on Windows, Mac, Linux and IRIX,
| | 00:30 | but the videos for this workshop
were created using the Mac version.
| | 00:34 | If you are using Windows, Linux, or IRIX,
the only thing you will have to keep
| | 00:38 | in mind is when I use the Command key,
you will need to substitute the Ctrl key.
| | 00:44 | These videos were made using Nuke 5.1,
but you will be using 5.2, the latest
| | 00:49 | release from the Foundry.
| | 00:50 | So, you may notice small differences
between your version and the videos.
| | 00:53 | Where there were significant differences,
the videos were revised to reflect the
| | 00:57 | latest version of Nuke.
| | 00:59 | Just a reminder that if you are using
the Personal Learning Edition, or the
| | 01:02 | PLE version of Nuke,
| | 01:04 | it does not support the Primatte Keyer
plugin or the FrameCycler flipbook plugin.
| | 01:09 | I hope you will find my workshop very
informative and enjoy doing it as much as
| | 01:13 | I did preparing it for you.
| | 01:16 | So, let's get started.
| | Collapse this transcript |
| Touring the interface| 00:00 | We will start our introduction to Nuke by
taking a quick tour of the user interface.
| | 00:05 | This is just a sit back
and relax and watch me go.
| | 00:09 | You don't have to do anything.
| | 00:10 | I just wanted you to get the big picture
and kind of get the lay of the land here.
| | 00:15 | Since Nuke is a node-based compositor,
all the nodes are collected over here in
| | 00:18 | the Tool tabs, grouped by Type.
| | 00:20 | Here's all the Transform nodes.
It's just what you might expect.
| | 00:25 | Nuke 5.2 introduces a new Tool tab,
shown right here, that adds a set of nodes
| | 00:31 | that are used to control metadata
throughout the entire flowgraph.
| | 00:33 | We will build the node tree
down here in the Node Graph.
| | 00:38 | To do that, I will just come up here
and select a node and it jumps down
| | 00:41 | into the Node Graph.
| | 00:42 | You will notice it didn't
appear here in the viewer.
| | 00:46 | To get anything in the viewer, you have
to connect the node you want to a viewer
| | 00:50 | node and now it pops into the viewer and
of course, the viewer has all the usual
| | 00:55 | navigational things that you
would expect, as does the Node Graph.
| | 00:58 | You can pan around and zoom and of course,
we are going to see a lot more of this later.
| | 01:04 | Below the viewer, down here is
the timeline. I will click here.
| | 01:08 | It will play the timeline.
| | 01:09 | Of course, we don't have any animation. Stop.
| | 01:12 | These are all the buttons you
would expect in a playhead control.
| | 01:15 | Go to your keyframes. Go to
the last frame, single frame.
| | 01:18 | Over here is your increment counter, and
over here is your current frame number.
| | 01:23 | So, down here is the timeline.
| | 01:28 | Let's add some more nodes here.
| | 01:29 | So, I am going to select the
Checkerboard node and come up to the Color, and
| | 01:33 | click on Grade, and we will add one more.
| | 01:37 | I will come to the Filter
tab and add a Blur node.
| | 01:39 | Now you will notice each node that
I add opened up its Property panel.
| | 01:43 | So, the Property panel is where you
adjust the properties for that node.
| | 01:48 | All of the Property panels are
collected here in the Properties bin and they
| | 01:52 | stack up here, and you can click
them away, or fold them and unfold them.
| | 02:00 | So, if I want to adjust the Blur node,
for example, I can just come up here,
| | 02:03 | and adjust the Blur slider, or here is
the Property panel for the Grade node.
| | 02:10 | See, this guy right here.
| | 02:12 | So, I can adjust the Gamma, for example.
| | 02:15 | So, Property panels are
collected in the Properties bin.
| | 02:23 | Down here is the Curve Editor.
| | 02:25 | You click on the Curve Editor tab and all
of our animation curves will show up here.
| | 02:29 | We don't have any right now.
| | 02:31 | But this is where we will edit all the
animation curves, insert points, adjust
| | 02:35 | the slope, whatever you want.
| | 02:37 | And let me go back to the Node Graph.
| | 02:40 | Now let's take a sneak peek at
Nuke's powerful 3D interface.
| | 02:44 | As you know, Nuke is a
very powerful 3D compositor.
| | 02:47 | So, we will go up here, where it says 2D,
and I want to select 3D and the viewer
| | 02:52 | will switch to the 3D world.
| | 02:54 | Here we go and we will just
play with this for a minute.
| | 02:58 | We'll put in a cube, and just for fun,
we will add a camera, give this a little
| | 03:04 | something to play with.
| | 03:05 | We will pull the camera back,
| | 03:07 | raise the camera up, and
maybe make it look at our cube.
| | 03:14 | So, this gives you just an idea of the
3D world that's built into Nuke, and the
| | 03:18 | brilliant thing about Nuke is you can
move back and forth between 3D and 2D, and
| | 03:24 | add the 3D composting in with
your 2D composting, very, very nice.
| | 03:29 | All right. We will get rid of these 3D items
and go back to the 2D interface here to take a
| | 03:36 | look at adjusting the GUI.
| | 03:38 | Nuke allows you to adjust the
GUI to layouts that you prefer.
| | 03:42 | If you put your cursor here,
you will see that edge light up.
| | 03:46 | Now we can drag this left or
right to change the proportions.
| | 03:49 | You can even make it go
completely away. No worries.
| | 03:52 | It will come right back.
| | 03:55 | And you can get this edge to light up, so
that you can adjust the proportions here.
| | 03:59 | You can even make any one of these
windows fill the frame, if you wish.
| | 04:05 | We can go to the Curve Editor, for example,
and fill the entire frame with the Curve Editor.
| | 04:11 | Back to the Node Graph.
| | 04:14 | You can even create your favorite layouts
and save them and load them back in later.
| | 04:19 | So, there you have it, just a
quick tour of Nuke's user interface.
| | 04:24 | In our next movie, we are going
to learn more how to operate Nuke.
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| Keyboard shortcuts| 00:01 | To help you learn Nuke's Interface,
I've included a keyboard shortcut document
| | 00:05 | that I've written for you.
| | 00:06 | This follows the 80-20 rule, where
20% of the stuff does 80% of the work.
| | 00:11 | So, this is my personal selection of
keyboard shortcuts that will be most useful to you.
| | 00:15 | You'll find the keyboard shortcuts
located in the Lesson_01_Media folder,
| | 00:21 | wherever you've put that, and here they are.
| | 00:23 | There is a Keyboard Shortcuts for the Mac,
and another one for the PC and Linux.
| | 00:27 | I'm on a Mac, so I am going to use this one.
| | 00:32 | So, this is our keyboard shortcuts
for the Mac, and if you've got a Windows
| | 00:36 | machine, be sure you're using the other one.
| | 00:37 | Here is a little legend.
| | 00:39 | This is short for the left mouse
button (LMB), and this is your middle mouse
| | 00:43 | button (MMB), and this is
the right mouse button (RMB).
| | 00:46 | The top section, this is the Universal Commands.
| | 00:49 | These are navigational commands that are
used in virtually all the windows of Nuke.
| | 00:54 | There is great symmetry in these commands to
make it easier for you to learn the system.
| | 00:59 | So, the first two we'll take a look
at are the Plus and Minus, used for an
| | 01:03 | integer, zoom in and out.
| | 01:04 | I will show you how that works.
| | 01:07 | First, we're going to
need a picture to play with.
| | 01:10 | So, let's do the Read node, and browse
to wherever you keep your Workshop, and
| | 01:16 | go to the Lesson_01_Media folder,
click on Marcie and say Open.
| | 01:22 | And again, Marcie doesn't go into the Viewer.
| | 01:25 | You have to personally
connect her up to the Viewer node.
| | 01:28 | We're going to see, shortly,
how to do this much faster.
| | 01:32 | So, we're going to look at the Plus and
the Minus keys that do an integer zoom.
| | 01:36 | With your cursor in the Node Graph, on
the 10 key pad, Plus, Plus, Minus, Minus.
| | 01:43 | Move your cursor into the Viewer.
| | 01:45 | Again, Nuke's GUI is context-sensitive.
| | 01:49 | Plus, Plus, Minus, Minus.
Even in the Curve Editor,
| | 01:54 | click on the Curve Editor.
| | 01:56 | Select the Graph and go Minus, Minus,
Plus, Plus, just to mix it up a little bit.
| | 02:03 | We'll go back to the Node Graph.
| | 02:07 | The next thing we'll want to
look at is Pan and Zoom Workspace.
| | 02:10 | This uses the Alt button with the
Left and the Middle Mouse buttons.
| | 02:14 | So, let's see how that works.
| | 02:15 | I'll move this aside, cursor in the Node
Graph, Alt+Left Mouse Button (Alt+LMB),
| | 02:21 | Pan in the Viewer, Alt+Left
Mouse Button (Alt+LMB) Pan.
| | 02:27 | Back here in the Node Graph, Alt+
Middle Mouse Button (Alt+MMB) Zoom.
| | 02:33 | In the Viewer, Alt+Middle
Mouse Button (Alt+MMB), Zoom.
| | 02:39 | Okay, again, perfect symmetry.
| | 02:41 | We can do the Curve Editor,
but I think you get it.
| | 02:43 | Let's look at the next one. Okay.
| | 02:47 | This is important.
| | 02:48 | This is the fit to viewer.
| | 02:49 | You can use the F key or
the Middle Mouse Button.
| | 02:53 | This here is useful.
| | 02:54 | It says fit to viewer, but that
also means the and Node View and the
| | 02:57 | Curve Editor as well.
| | 02:58 | So, let's take a look at that.
| | 03:01 | Put my cursor in the Viewer and I am going to
use Alt+Middle Mouse (Alt+MMB) to zoom way out.
| | 03:05 | I am going to hit the F key on the keyboard,
| | 03:07 | F as in Frank, and it restores it.
| | 03:10 | It fits it in the Viewer.
| | 03:11 | It does two things.
| | 03:13 | It centers it and it applies an
integer zoom factor. You see minus 2?
| | 03:17 | Let me increase the size of the
Viewer a little bit, and it will pop to an
| | 03:22 | integer of exactly one to one.
| | 03:24 | Okay, so the F means a fit to the nearest
integer zoom factor and center it in the Window.
| | 03:31 | It works the same down here in the Node Graph.
| | 03:33 | Put the cursor down here. Hit the F key.
| | 03:38 | You can also use the Middle Mouse button.
| | 03:41 | So again, I'll Alt+Middle
Mouse (Alt+MMB), zoom way out.
| | 03:44 | Cursor in the Viewer, and just click the
Middle Mouse button once, and that does
| | 03:48 | the same as the F key. All right!
| | 03:51 | Next. Let's take a look at these.
| | 03:56 | Now, these are zoom in and zoom out by integer
percentages where you can type in the percent.
| | 04:01 | The Command will zoom in and the Alt will
zoom out, followed by a number, like this.
| | 04:09 | Put the cursor in the
Viewer and press Command+3.
| | 04:13 | Notice we've come in
here by exactly three times.
| | 04:16 | Command+5. Now we're zoomed
in by an integer factor of 5.
| | 04:20 | And we're starting to see our pixels.
| | 04:24 | In Nuke 5.2, shown here, a new
Viewer feature was added that changes the
| | 04:28 | appearance of the pixels in close up.
| | 04:31 | To see this new feature, we'll
have to open up the Viewer Settings.
| | 04:34 | So, place the cursor in the
Viewer, and type S on the keyboard.
| | 04:38 | That opens up the Viewer Property panel.
| | 04:41 | Come down here a little bit below the
middle and look for this line, use GPU for
| | 04:45 | viewer when possible.
| | 04:47 | As I toggle that on and off, you can
see the dramatic effect it has on the
| | 04:50 | pixels in the Viewer.
| | 04:53 | These videos were made with Nuke 5.1
and the default for Nuke 5.1 was that this
| | 04:58 | feature was always enabled.
| | 05:00 | So, be sure to leave this on
for the duration of the Workshop.
| | 05:04 | Returning to the Viewer zoom story, Alt+2
will zoom out to exactly a factor of two.
| | 05:10 | And again, same thing works down in
the Node Graph, Command+2, 3, 4 or 1.
| | 05:16 | Now, a Command+1 restores a zoom
factor of 1, and so does Alt+1.
| | 05:22 | So, those are essentially the same command.
| | 05:26 | Next, we'll take a look at the Spacebar.
| | 05:30 | This is a very important one.
| | 05:31 | This is how we expand one of the
panels to fill the entire view.
| | 05:35 | We saw that earlier.
| | 05:37 | So, if I put my cursor in the Viewer and hit
Spacebar, I am going to hit the F key to home it,
| | 05:43 | I'll fill the entire GUI
with just the Image Viewer.
| | 05:47 | Spacebar to restore. Cursor down here in
the Node View. Tap the Spacebar to fill
| | 05:52 | the entire GUI with the Node View.
| | 05:55 | Spacebar again restores all four views.
| | 05:57 | Hit the F key to fit back
to the Viewer. All right!
| | 06:04 | Next. We'll take a look at
the Undo and Redo commands here.
| | 06:12 | Bless their hearts, but Nuke has an
incredibly capable, and actually works Undo, Redo.
| | 06:17 | For those of you who have come from
Shake, you'll find that the Undo, Redo is
| | 06:21 | very flaky, but it's rock solid in Nuke.
| | 06:24 | It even applies to
navigational controls. I'll show you.
| | 06:29 | We'll make that go away.
| | 06:30 | I am going to select Marcie.
| | 06:33 | Go ahead and click on Marcie to light
her up, come up here to the Filters tab,
| | 06:38 | and click on a Blur Node. Okay.
| | 06:41 | Put the cursor down here, and hit Command+Z.
That's the Undo and it just deleted that node.
| | 06:47 | Command+Y, the node
comes back. Command+Z, Undo.
| | 06:53 | Command+Y, Redo.
| | 06:56 | These two commands are for
saving and loading the Window layouts.
| | 06:59 | We'll get into that later, so
we're not going to do that right now.
| | 07:04 | This one is for inserting new control
points, and the key is it's used for all
| | 07:08 | splines, no matter where they are in the system.
| | 07:11 | But we don't have many splines right now,
so we'll check this out a little later.
| | 07:19 | Now that we've seen the Universal
Keyboard Shortcuts that are apply to all the
| | 07:22 | windows in Nuke, let's build a Node Tree.
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| Building node trees| 00:01 | Now, it's time to see how
we build a Node Tree in Nuke.
| | 00:04 | The first thing you're going to
want to do is to get your Keyboard
| | 00:06 | Shortcut document opened.
| | 00:08 | You're going to want to print this out,
and have it at your machine side and
| | 00:12 | always use it because it contains all
these keyboard shortcuts that make your
| | 00:16 | work with Nuke so much
faster and more productive.
| | 00:18 | We're going to be working right
here in the Node Graph section.
| | 00:22 | And in this movie, we're going to cover
almost all of the commands you see here.
| | 00:27 | Nuke has a great many built-in
productivity tools, and the more you know about
| | 00:30 | them, the faster and more efficient you
can be at your Nuke compositing scripts.
| | 00:36 | So, we will put this away.
| | 00:39 | And since we want to build Node
Graphs and we don't care about the Viewer,
| | 00:42 | I'm going to collapse the Viewer down
to nothing so we can have more screen
| | 00:46 | space for our Node Graph. All right.
| | 00:49 | We'll come up here to the Image tab,
come down and select the CheckerBoard node.
| | 00:55 | The node comes in and it is selected.
| | 00:57 | You see how it's lit up orange?
| | 00:59 | If we click off to the side, it deselects.
| | 01:01 | If we click on the node, it selects.
| | 01:03 | If a node is selected, any new
nodes you add will be appended to it.
| | 01:09 | So, I can come over here to the
Filter tab, add a Blur node and now the
| | 01:14 | Blur node is selected.
| | 01:16 | Go to the Color tab and add a
Grade node, the Grade node is selected.
| | 01:21 | And one more, the Transform tab, and
now the Transform Node is selected.
| | 01:27 | If you don't have any node selected, I
will deselect off to the side, and I add
| | 01:32 | a new node, like another
Grade node, for example,
| | 01:35 | it just floats off in never-never-land.
| | 01:36 | It doesn't hurt anything,
but it doesn't do anything.
| | 01:42 | To delete a node, simply select it and hit
either one of the Delete keys on the keyboard.
| | 01:48 | Now, if you want to insert a node, I
recommend you first, make yourself a little
| | 01:53 | space here, select the node above the
area you want to insert, and then simply
| | 02:00 | add a new node and it gets dropped right in.
| | 02:03 | See? It's all hooked up for you.
| | 02:06 | Sometimes, you want to do an
Insert branched off to the side.
| | 02:10 | So, we'll select this node, we'll go to
the Color tab and Shift+Click on a node
| | 02:16 | and now it's connected but
branched. Try that again.
| | 02:21 | Select the Blur node, come down to the
Transform, Shift+Click on the new node
| | 02:26 | and you get a branch connection.
| | 02:29 | Now, we saw you can click on node to select
it and click off to the side to deselect it,
| | 02:34 | but you can also draw rectangles
around them to select them, which is very
| | 02:39 | helpful for selecting groups or columns.
| | 02:41 | You can also build a pick list.
| | 02:44 | Hold down the Shift key. Click, click,
click and you've built a list of nodes. Okay.
| | 02:50 | I'll click off to deselect.
| | 02:54 | One more time, hold down the Shift
key, click, click, click, and now those
| | 02:59 | nodes are selected.
| | 03:02 | So, in addition to these tool tabs for
adding nodes, there is a second way to
| | 03:05 | add nodes, very fast, very powerful
and that's the Tab Search function.
| | 03:11 | The cursor must be in the Node Graph. Tap
the Tab key and you get this little window.
| | 03:17 | The first letter you type will pop up a list
of all the nodes that begin with that letter.
| | 03:22 | If you add a second letter, it'll down select.
| | 03:26 | So, let's say I want the Blur node,
| | 03:27 | so now I just click on
Blur and I get a Blur node.
| | 03:31 | I didn't have any other node
selected, so it wasn't connected.
| | 03:35 | So, I'll select the
Grade node. Hit the Tab key.
| | 03:39 | It remembers my last election.
| | 03:41 | I'll just hit the Return key and add a
Blur node to the Grade node. Very nice!
| | 03:47 | There is a third way to add nodes.
| | 03:51 | Cursor in the Node Graph.
| | 03:52 | Right mouse button pop-up menu.
| | 03:55 | From Image on down, these are
duplicates of all of these tab buttons over here.
| | 04:01 | So, we can, for example, come down to
Filter and click on Blur and add a Blur node.
| | 04:06 | Of course, if you have got a node
selected, you can do right mouse, go to color
| | 04:13 | and add the Grade Node and it'll be connected.
| | 04:17 | So, there's three ways that you
can add nodes to your Node Graph:
| | 04:21 | the Tab tool pop-up over here, the
Tab Button Search and the Right Mouse
| | 04:27 | Button pop-up menu.
| | 04:30 | In our next movie, we'll see
how to edit the node trees.
| | Collapse this transcript |
| Editing node trees| 00:01 | Now let's talk about connections,
| | 00:03 | how to connect and disconnect things.
| | 00:07 | You can grab a disconnected arrow and
drag it up to any node and it'll connect up.
| | 00:12 | You can also pull it off, and
let go and it'll disconnect.
| | 00:16 | You can also grab the arrow up here
and pull it down onto another node.
| | 00:21 | You can also pull it off from the
arrowhead, so you can break the connection two
| | 00:25 | ways, from the top or from the bottom.
| | 00:32 | If a node already has a connection,
like this one, the Transform node, if I
| | 00:36 | bring the Grade node over here and drop it off
on that node, it'll bump off the other connection.
| | 00:43 | And I can do it again. Bring this
one down here and it'll bump off the
| | 00:47 | Grade node connection.
| | 00:50 | Many nodes have a mask connection like this.
| | 00:52 | You can see here it says Mask input.
| | 00:53 | I am going to connect this guy up here.
| | 00:59 | Now, this node already has a
connection to it right here.
| | 01:03 | If I try to add a second arrow, Nuke
thinks I'm trying to add it to the mask
| | 01:07 | input, and it automatically hooks it up.
| | 01:09 | That may or may not be what you want.
| | 01:13 | To specifically force a node to connect
to the mask, you can drag out the mask
| | 01:17 | here and hook to another node there.
| | 01:19 | So, that's another way you
can do the mask connection.
| | 01:24 | Sometimes you'd like to do
a branch of an arrow off.
| | 01:28 | So, if you put the cursor on an
arrowhead and Shift+Click on it, you can pull
| | 01:31 | off a second arrowhead and
put that on another node.
| | 01:35 | To show you that again, Shift+Click on
an arrowhead and you spawn a new one and
| | 01:39 | then you can branch off to another direction.
| | 01:43 | Let's say we want to
disconnect a node, like say Blur4.
| | 01:47 | We'll select the node and type Command+D,
and that means disconnect this node.
| | 01:52 | We'll put the back with Command+Z.
Now, I'd like to show you how to
| | 01:59 | automatically swap inputs,
| | 02:01 | but for that, I need a dual input node.
| | 02:04 | So, I'm going to hook in a Merge node,
which has two inputs the A and the B. One
| | 02:10 | is for the foreground.
| | 02:11 | One is for the background.
| | 02:13 | There's many nodes in Nuke that have two
inputs. Some are called A, B. Others are 1, 2.
| | 02:18 | Nevertheless, very often, when you
have a dual input node, you're going to
| | 02:22 | get the background connected to the foreground
or the back of the foreground connected to the background.
| | 02:26 | So, rather than undoing and redoing all
the arrows, there's a one keyboard stroke
| | 02:31 | shortcut for you to know, and that's Shift+X.
Look at that. The A and B have now swapped.
| | 02:37 | I'll select the node.
| | 02:39 | Shift+X. A and B are now swapped. Very nice!
| | 02:44 | Now, if you want to extract a node,
let's say we'd like to take the Blur4 node
| | 02:49 | and just extract it, not delete it,
but simply pop it out of the Node Tree,
| | 02:54 | we can do that with the Shift+Command+X.
We'll put that back with a
| | 02:59 | Command+Z, an undo.
| | 03:01 | Do that one more time.
| | 03:02 | Shift+Command+X to extract.
| | 03:07 | One of my favorite tricks is to
swap a node in the flow graph.
| | 03:10 | For example, if I'd like to replace
this Grade node with this Blur node, all I
| | 03:16 | have to do is Shift+Command and drag
the Blur on top of the Grade and Nuke will
| | 03:21 | swap it in and rebuild
all the connections for me.
| | 03:23 | I want to put the Grade back in,
replace the Blur, Shift+Command+Drag and drop
| | 03:30 | it on top, and Nuke will take care of
all the connections. Very, very nice.
| | 03:35 | You can also copy and paste nodes, of course.
| | 03:38 | Select the node, Command+C to copy.
| | 03:41 | If there is a node selected,
Command+V will paste it in line and hook it up.
| | 03:46 | If there is no node selected,
Command+V will just paste it in empty space.
| | 03:51 | Of course, you can copy several nodes.
| | 03:57 | Ctrl+C. Come over here, Ctrl+V. So,
not just one in time, but whole groups
| | 04:03 | of nodes if you wish.
| | 04:05 | Now that we've seen how to build and
edit Node Trees, in our next movie,
| | 04:09 | we're going to take a look at some
very important Node Tree operations you
| | 04:12 | will want to know about.
| | Collapse this transcript |
| Node tree operations| 00:01 | Another important feature is the
ability to disable, or turn a node off.
| | 00:06 | To do that, you select a node
and hit the D, D for disable.
| | 00:11 | And what happens is that node ceases
to do its image processing operations.
| | 00:16 | The data still flows through it
so none of the nodes around it are affected.
| | 00:20 | It just turns off that node.
| | 00:22 | To un-disable it, hit the D key again.
| | 00:27 | If you have several nodes selected,
you hit the D key, they'll all disable.
| | 00:31 | We'll hit the D key again to un-disable them.
| | 00:36 | To help keep your node trees organized,
very often, it's helpful to rename a node.
| | 00:41 | Now, here's the rule.
| | 00:43 | You name the node, not after
what it is, but what it's doing.
| | 00:47 | For example, if this Grade node was
being used to darken the sky, we would hit
| | 00:53 | the N key to say I want to rename
it, and label it Dark Sky. Return.
| | 01:01 | Another way you can rename a node, if
you'll double-click on a node, it pops up
| | 01:05 | over here in the Properties panel,
| | 01:07 | you can then edit this here, RotateSky.
| | 01:13 | Again, rename a node after
what it's doing, not what it is.
| | 01:20 | One more organizational and
productivity feature in Nuke are the dots.
| | 01:25 | Hold down the Command key.
| | 01:26 | Press it up and down a couple of times.
| | 01:28 | You see the little yellow dots appearing?
| | 01:31 | If you click on one of those
yellow dots, it turns into a dot.
| | 01:35 | This is now an editable point.
| | 01:37 | It doesn't do anything.
| | 01:38 | It's used for connecting things.
| | 01:39 | For example, we could connect this up
here and we can connect that over there.
| | 01:45 | So, we can use it to branch
off with multiple connections.
| | 01:48 | Another thing you can do with dots is to
help make neat and tidy, organized node graphs.
| | 01:54 | For example, I'll hold down the Command
key, click here to make a dot, tidy that
| | 01:59 | up, hold down the Command key, click here.
| | 02:05 | This way, we can keep the node tree
very neat and organized, the hallmark of a
| | 02:11 | competent Nuke compositor.
| | 02:14 | There's yet another
productivity tool to know about.
| | 02:17 | There are one-key strokes
that will bring in a new node.
| | 02:25 | Let's take a look on our keyboard shortcuts.
| | 02:28 | Scroll down to the next
section here, the Node Quick Keys.
| | 02:33 | The idea here is you can add a node
by typing one key on the keyboard.
| | 02:38 | They've identified the most commonly used
nodes and assigned one key button to them:
| | 02:43 | B for the Blur node, K for the
Copy, M for the Merge and so on.
| | 02:48 | Let's see how that works.
| | 02:49 | I'm going to select this Blur node here.
| | 02:54 | On the keyboard, I'm going to type T,
Transform, B, Blur, G, Grade, C, Color correct.
| | 03:01 | Wow!
| | 03:02 | You can build a lot of node
graphs in a hurry with this.
| | 03:06 | Some more node graph navigation
you're going to want to know about besides
| | 03:09 | holding down the Alt key, Left Mouse
Button pan, holding down the Alt key,
| | 03:13 | Middle Mouse Button zoom,
| | 03:15 | well, we have some more
navigational buttons for you here.
| | 03:18 | Let's say I go to the bottom of this
stack and hold down the Command key and click.
| | 03:24 | It lights up all the nodes from there
up, and now they all move as a group.
| | 03:29 | So, you can move a whole stack of
notes by clicking at the bottom and then
| | 03:34 | moving it with the Command key.
| | 03:35 | There is another one
you're going to want to know.
| | 03:40 | I'll select this node here, but let's say I
wish to select the Transform node above it.
| | 03:46 | Just type the Up Arrow and the
selection moves up. Type the Up Arrow again,
| | 03:50 | we're up to five.
| | 03:52 | Tap the Down Arrow, Transform is lit up,
then Blur, now Grade and now ColorCorrect.
| | 03:58 | Sometimes, you want to shift nodes in the stack.
| | 04:02 | Let's say I want this Grade node here to
be above the Blur node that's above it.
| | 04:08 | So, with the Grade node selected,
I'm going to hit Command+Up Arrow.
| | 04:12 | Now, the Grade node has popped up in the stack.
| | 04:15 | It's now below the Transform node.
| | 04:17 | I'll hit Command+Up Arrow and now
it pops above the Transform node.
| | 04:21 | If I want to move it down in the
stack, watch the Grade node go down.
| | 04:25 | I'll hit Command+Down Arrow,
Down Arrow, Down Arrow.
| | 04:29 | And now the Grade node is
at the bottom of the stack.
| | 04:33 | You may have noticed this little window
coming and going for no apparent reason.
| | 04:38 | That's the Navigator Map.
| | 04:40 | The way Nuke designed it is if and only
if your node tree goes outside the Node
| | 04:46 | Graph View, that's when
the Navigator Map appears.
| | 04:52 | You cannot turn it on or off.
| | 04:54 | It automatically appears.
| | 04:56 | You can then use it to pan around.
| | 05:00 | Again, once the node tree is inside the
node graph, the navigator map goes away.
| | 05:05 | Well, there you have it,
| | 05:08 | a whole bunch of quick keys and
navigational tools to help you build your Nuke
| | 05:12 | node trees as fast and efficiently as possible.
| | 05:16 | Be sure to print out that keyboard shortcut
and keep it by your side at all times.
| | Collapse this transcript |
| Viewer nodes| 00:01 | Now let's take a closer look at
Nuke's Viewer node. Very important.
| | 00:06 | First, I'm going to bring in a picture.
| | 00:08 | So, go up to Images node.
| | 00:10 | Click on Read, browse to your workshop media.
| | 00:14 | We'll go to lesson one, and let's
select Marcie and we'll say Open.
| | 00:20 | Now, before, we were manually
connecting the node to the viewer.
| | 00:24 | but there is, of course, a quick shortcut.
| | 00:28 | With the node selected, you type the
number 1 on the keyboard and it will
| | 00:33 | immediately connect.
| | 00:34 | You see, each viewer can take up
to ten inputs, numbered 1-9 and 0.
| | 00:41 | So, now, let's see how we get
those multiple inputs working.
| | 00:44 | I'm going to select Marcie.
| | 00:45 | I'll add a Blur node by typing B on
the keyboard and a Grade node by typing G.
| | 00:50 | I'm going to enter some
values into these two nodes.
| | 00:53 | So, for the Grade node, I'm going to
just increase the Gamma and the Blur node,
| | 00:57 | I'm going to punch in a Blur of 20 so we
can see what's happening. All right!
| | 01:02 | I'll move the Viewer node over here and let's
zoom in a little bit, so we can see the action.
| | 01:07 | With the cursor in the Node Graph, if
you select a node and type the number 1,
| | 01:11 | it will immediately connect to the Viewer.
| | 01:14 | So, I could switch to the Blur node,
type 1, the Grade node, type 1.
| | 01:19 | If I want multiple inputs -
| | 01:22 | I'll select the Read node, type 1, the Blur
node and type 2, the Grade node and type 3,
| | 01:29 | I now have all three of them
connected to the Viewer on inputs 1, 2, and 3.
| | 01:34 | To switch between them, I have to
put the cursor up here in the Viewer.
| | 01:40 | Now if I type 1, 2, 3, you can
actually see which one is lit up here.
| | 01:46 | I can switch between any one of
the inputs for this Viewer node.
| | 01:50 | So, remember, Nuke's
interface is context-sensitive.
| | 01:55 | So, with the cursor in here, typing a 1, 2
or 3 will connect that node to the Viewer.
| | 02:00 | With the cursor up here, typing 1, 2 or
3 will switch the inputs for that Viewer.
| | 02:06 | Now, we can have more than one Viewer node.
| | 02:09 | So, I'm going to select Marcie and
type Command+I and add a second Viewer.
| | 02:15 | Now this viewer is
connected to just to Read node.
| | 02:19 | We can see now up here on the
tabs, we have Viewer1 and Viewer2.
| | 02:24 | So, clicking on the tab is one way to
switch between them and another way is to
| | 02:28 | double-click on the Viewer down here.
| | 02:33 | The important thing to remember about
these viewers is each one can have its
| | 02:37 | own separate settings.
| | 02:38 | So, we've got Viewer2 up.
| | 02:40 | I'm going to shrink that
small and move him over here.
| | 02:44 | So, we go back to Viewer1, and he's
large, and in the center, and Viewer2 is
| | 02:49 | small and off to the left.
| | 02:51 | So, each Viewer node can have
its own separate Viewer settings.
| | 02:56 | Now that we've seen how Viewer nodes
work, in our next movie, we'll take a
| | 02:59 | closer look at how to
navigate the Viewer window.
| | Collapse this transcript |
| Viewer navigation commands| 00:01 | In an earlier movie, we saw a
little bit of the Viewer navigation.
| | 00:04 | We set Alt+Click+Drag to pan,
Alt+Middle Mouse+Drag to zoom.
| | 00:11 | By the way, if you have a thumbwheel on
your mouse, you can thumbwheel in and out too.
| | 00:16 | It's one of my favorites.
| | 00:19 | So, now let's take a closer look
at the Viewer navigational commands.
| | 00:22 | So, we'll bring up the keyboard
shortcut document here, and we're going to be
| | 00:28 | going down these keyboard
shortcuts here for the Viewer.
| | 00:31 | We'll put that away.
| | 00:36 | We saw the last time that with the
cursor in the Viewer if you hit the F key, it
| | 00:40 | will fit the image to the
Viewer at an integer zoom level.
| | 00:45 | Also, if you adjust the Viewer size,
the integer zoom will change with it.
| | 00:51 | But always, the F key gives
you a fit to an integer zoom.
| | 00:55 | Another very important key is the H key.
| | 00:58 | You hit H and that means fill the Viewer.
| | 01:01 | You'll notice that we get a floating
point zoom factor here and if I adjust the
| | 01:05 | Viewer size, it always fills the Viewer.
| | 01:11 | Another option you can use is the
Middle Mouse Button is the same as the F key.
| | 01:16 | So, we can zoom, F key, zoom,
Middle Mouse Button. They both fit.
| | 01:24 | We can also do a zoom box, Shift+Command+
Middle-Mouse, click and drag a box, and
| | 01:31 | we'll zoom right in.
| | 01:32 | I'll hit the H key to fill the Viewer
and now we'll take a look at how you see
| | 01:38 | the different RGB channels in Nuke.
| | 01:41 | With the cursor in the Viewer, type
the R key to see the red channel and it
| | 01:46 | posts it right up here.
| | 01:47 | There is your R key.
| | 01:49 | Type the G key to see the green
channel, and again, it's reflected up here.
| | 01:54 | Type B to see the blue channel.
| | 01:57 | Now, if you're a shaker, you want
to go back to color, you're going to
| | 02:00 | always hit the C key. Oops!
| | 02:03 | In Nuke, the C key is the 3D top view.
| | 02:06 | So, that will mess you up
until you get your Nuke fingers.
| | 02:10 | Type any one of the R, G, or B keys.
| | 02:12 | I'll type R and then type it again.
| | 02:15 | In Nuke, the way to go back to color
when you're looking at any one channel, like
| | 02:20 | the red channel, is to press the
same channel again. Press red again.
| | 02:26 | If I'm in the green
channel, I have to hit G again.
| | 02:28 | Blue channel, hit B again.
| | 02:32 | Another very nice feature about
Nuke's Viewer is built-in gamma and gain
| | 02:36 | adjustments right here.
| | 02:39 | I can dial down or up the gamma in the
Viewer and click on the Y button to reset
| | 02:45 | it to the default of 1.
| | 02:47 | Over here is the gain slider.
| | 02:49 | I can slide the gain up or down and
click on the gain button to restore it
| | 02:54 | to the default of 1.
| | 02:57 | All built-in very, very nice.
| | 03:01 | Now, up here are the Viewer wipe
controls and these are very cool.
| | 03:06 | This is for doing image comparisons.
| | 03:08 | We'll select Viewer1, which
has three different inputs.
| | 03:13 | I'll hit the H key to fill the Viewer.
| | 03:17 | To turn on the wipe functions, this
little pop-up here, set it for wipe.
| | 03:23 | Now you have to tell it which input you
want on the left and which input on the
| | 03:27 | right and that's done right here.
| | 03:29 | So, let's tell it we want the Read node
on the left, on the A side, and on the B
| | 03:33 | side, we want the Grade node.
| | 03:38 | You can see now, down here in the
node tree that they are both lit up.
| | 03:44 | Now we can move the wipe control left or right.
| | 03:47 | We can turn it to any funny angle we want.
| | 03:51 | There's even a fader bar control right here.
| | 03:54 | So, if you want, you can actually
move the control off-screen and do a
| | 03:58 | fade-wipe between things. Put that back.
| | 04:04 | To turn off the wipe controls, go to
the pop-up and set it for the little Dash.
| | 04:09 | There's another even more powerful
use of the wipe controls, and that's for
| | 04:13 | doing your CGI composites. Let's take a look.
| | 04:16 | I'm going to pan this over here.
| | 04:19 | For this, we're going to need some new pictures.
| | 04:21 | So, we'll go to the Image tab > the Read
node and get the jet fighter small. Say Open.
| | 04:29 | So, the Read node comes in all selected.
All I have to do is hit Command+I to
| | 04:33 | add a Viewer node to it. Very nice.
| | 04:36 | Now we need a background clip.
| | 04:38 | We'll go to Read node and
select cloud_flyby and Open that.
| | 04:47 | To connect it to Viewer 3, I just type
the number 2 on the keyboard. All right!
| | 04:54 | So, I've got a four-channel CGI jet here
in Read2 and a cloud background in Read3.
| | 05:01 | I can do a Slap Comp in the Viewer,
without doing any Merge nodes or any
| | 05:05 | over-operations or anything.
| | 05:08 | We'll come up to our wipe
controls and set it for over.
| | 05:12 | Go to the A side and say I
want the jet on the A side.
| | 05:16 | On the B side, I want the
background, the cloud_flyby.
| | 05:21 | Now, I hit the H key to zoom in.
| | 05:24 | We can now do a Slap Comp of our
CGI elements right in the Viewer.
| | 05:30 | You always want to do this before you go
to build any big old node trees to make
| | 05:34 | sure the CGI department
has given you good staff.
| | 05:39 | Again, to turn off the wipe controls, go to
the pop-up here and set it for the little dash.
| | 05:44 | Now that we've seen some of the Viewer
navigation, in our next movie, we'll take
| | 05:48 | a look at the Timeline controls.
| | Collapse this transcript |
| Timeline controls| 00:00 | Now, we'll take a look at
some of the Timeline controls.
| | 00:04 | Again, our keyboard shortcut document,
the Timeline controls are right here.
| | 00:10 | Again, you are going to want to learn
all these quick keys to make your Nuke
| | 00:14 | compositing as fast and
efficient as possible.
| | 00:16 | All right. So here are the playhead controls.
| | 00:22 | This is, of course, the play forward
and it will play the clip. Nuke will cache
| | 00:26 | it and it will play it back as fast as it can.
| | 00:30 | It's telling you, right here, that
it's playing at 24 frames per second.
| | 00:34 | We can stop that play.
| | 00:36 | Play backwards, stop that, jump
to the beginning, jump to the end.
| | 00:43 | Single frame forward and backward.
| | 00:46 | If we had any keyframe set, this
would jump to the previous and the next
| | 00:50 | keyframes, right here.
| | 00:52 | Here is the Loop control, and this will
cycle through how it'll look through your clip.
| | 00:58 | This is to keep looping infinitely.
| | 01:01 | This is to play once and stop, and
this is to ping-pong, play back-and forth.
| | 01:07 | Over here is our increment control.
| | 01:08 | It's set for 10 frames, so if I click
like this, I am going to jump 10 frames per.
| | 01:14 | If I switch this to a number 5, now
it's going to move 5 frames per click.
| | 01:18 | Of course, we can drag the playhead
directly on the Timeline, or put the cursor
| | 01:24 | somewhere and click to make
it jump to any frame we want.
| | 01:29 | You can also use the Arrow keys, of course,
to single step forwards and backwards.
| | 01:32 | Here is a nice feature.
| | 01:35 | You see these little orange guys here on
the beginning and the end of the Timeline?
| | 01:39 | Those are in and out points.
| | 01:41 | You use those if you want to
play just a selected frame range.
| | 01:45 | Let's say I only want to see frames 30 through 60.
| | 01:49 | So, I will put the cursor up here and
you got to have it above the lines so you
| | 01:53 | see the 30 light up. Command+Click.
| | 01:56 | Now we have an in point set at 30.
| | 01:58 | I'll come over here to 60 and
again, make sure the cursor is way up
| | 02:02 | here, Command+Click.
| | 02:04 | I've got the out point set at 60.
| | 02:06 | Now when I play the clip, it will range
only between frames 30 and 60. Sweet.
| | 02:14 | In this movie, we got a much closer look
at the Viewer Navigational Controls and
| | 02:19 | most importantly, the Viewer
Wipe Controls, here, very powerful.
| | 02:23 | We also got to look at the Timeline
controls and how to set in and out points
| | 02:28 | and how to manipulate our playhead.
| | Collapse this transcript |
| Project settings| 00:01 | Now let's see how we adjust the
parameters in Nuke: the Nodes, Project
| | 00:04 | Settings, everything.
| | 00:06 | Let's start with the biggest
parameters of all, the Project Settings.
| | 00:10 | Putting the cursor in the Node view,
hit the S key to open the Project
| | 00:14 | Settings Property panel.
| | 00:17 | Down here is where we set the frame range.
| | 00:19 | Let's say we want a 250
frame shot. I will enter 250.
| | 00:25 | Until you click outside the
window, it's not accepted.
| | 00:29 | Let's say we are doing 30 frames
per second. Click outside the window.
| | 00:33 | Now, full size format,
| | 00:35 | that's Nuke's peak for your base resolution.
| | 00:38 | Nuke has a list of pre-built formats.
| | 00:41 | We could choose to do PAL or a
2K feature film, if we wanted.
| | 00:47 | But you might want to do your
own custom format. That's easy.
| | 00:51 | Click on the pop-up.
| | 00:53 | Come down here to New.
| | 00:56 | Give your new format a name.
We'll call that my format.
| | 01:00 | Decide what size it's going to be,
let's say 600x400. We'll say OK.
| | 01:06 | Now, my format now
appears here. Open the pop-up.
| | 01:11 | It's now added to the list and the
white checkmark says this is the current
| | 01:14 | format we are using.
| | 01:18 | Now, if I add a node - we will go to the
Image tab, add our friend the CheckerBoard,
| | 01:24 | hook that up to the viewer with
a number 1, look what we got.
| | 01:28 | Nuke says, "The format you are using
is my format and its size is 600Xx400."
| | 01:33 | There is a thing you need to
know about Nuke and formats.
| | 01:40 | All of the Nuke-generated nodes, like
checkerboard, are created at the size of the format.
| | 01:47 | Now, watch what happens
when I change the format -
| | 01:50 | let me get rid of the CheckerBoard node -
| | 01:52 | I am going to change this
format to 2K feature film. Bang!
| | 01:58 | The CheckerBoard node has
re-sized itself to the 2K.
| | 02:02 | This means if you put in some nodes and
the line things up and then later change
| | 02:07 | the format, all of the nodes
are going to change on you.
| | 02:11 | So, you will have to set the format first.
| | 02:13 | Now, that we have seen how to adjust
the Project Settings, let's take a look at
| | 02:17 | how to adjust the Node Parameters next.
| | Collapse this transcript |
| Adjusting node parameters| 00:00 | Okay, now let's adjust the Node Parameters.
| | 00:02 | Of course, as you know, the nodes are all
sitting over here, neatly bundled in the Tool tabs.
| | 00:07 | Now unfortunately, the Nuke documentation
does not cover every single node in the system.
| | 00:12 | So, to help you out, I have
created a Tool Tabs PDF file for you.
| | 00:17 | Here, I have put a one-line description
of every single node in Nuke, following
| | 00:22 | exactly the same layout as the Tool Tabs.
| | 00:27 | So, there is the Image tab.
Here's the Draw tab, all the Draw nodes.
| | 00:35 | Now the Time tab, right there.
| | 00:38 | Now, a lot of these are self-evident.
| | 00:41 | The Node labeled Add 3:2
pulldown does add a 3:2 pulldown.
| | 00:45 | But some of them are not so obvious.
| | 00:47 | What you suppose a TemporalMedium does?
| | 00:50 | Well, a TemporalMedium is
actually a Degrain operation.
| | 00:54 | It does the Degrain by taking the
median of a pixel from 3 adjacent frames.
| | 01:00 | So, the Tool Tabs PDF file
can be a very big help for you.
| | 01:04 | You should read through this and
familiarize yourself with every single node in
| | 01:08 | Nuke as soon as you can.
| | 01:11 | All right. We'll put this away.
| | 01:17 | Now we'll take a look at
adjusting the Node Parameters.
| | 01:20 | We are going to be working off of
our keyboard shortcut document,
| | 01:24 | right here on the Properties
panels section, right here.
| | 01:27 | So, be sure you have your keyboard
shortcuts out. Always have that with you.
| | 01:33 | Let's start understanding how Nuke
deals with Property panels by selecting the
| | 01:37 | Checkerboard node and I am going to
press B on the keyboard to add a Blur node.
| | 01:42 | We'll get rid of the Project
Settings by clicking on the little X here.
| | 01:45 | Everytime you add a node, it
pops it into the Properties bin.
| | 01:49 | So, the Property panel is
automatically opened up.
| | 01:52 | Nuke assumes you want to adjust it
right away, zing, zing, zing, okay?
| | 01:55 | I am going to add another node.
| | 01:57 | We'll add a Grade node.
| | 01:59 | That Grade node pops to the top of the stack.
| | 02:01 | Now we'll add T, for Transform, and
that pops to the top of the stack.
| | 02:06 | So, every time you add a node, it'll
jump to the top of the Properties bin.
| | 02:12 | If a node disappears, if you clicked
away a node, you can easily bring it back
| | 02:17 | just by double-clicking on the original node.
| | 02:19 | That returned to Grade node.
We'll put the Transform node back.
| | 02:22 | Double-click and now the
Transform Property panel is open.
| | 02:25 | If you want to reorder them, we want
the Blur node, let's say, we want the Blur
| | 02:30 | Property panel to be up here at the top,
| | 02:33 | just go to the Blur node and double-
click and his property panel pops to the top.
| | 02:39 | Again, if you want to delete a node,
just click on the little X. Don't forget
| | 02:44 | the little triangle here.
| | 02:45 | You can fold them away, and that
way they are easy to come back.
| | 02:51 | Now to adjust the parameters of the node, we
have, really, four different ways to do that.
| | 02:56 | We'll take a Blur node as an example.
| | 02:58 | Of course, you can drag the slider or
click, so we got the slider is one method.
| | 03:05 | You can click on the Parameter
window and type in a number, like 25.
| | 03:10 | Now you haven't entered the number until
you click outside and unhighlight the window.
| | 03:14 | So, click on the window, double-
click, type the number, click outside.
| | 03:22 | Or you can use the Arrow keys.
| | 03:24 | Now this is very trick. Watch this.
| | 03:25 | I am going to put the
cursor between the 5 and the 0.
| | 03:28 | I am going to go Up Arrow and you
see it's adjusting the ones digit.
| | 03:33 | If I move the cursor over to the left
of the 5, now I'll go Down Arrow and it's
| | 03:38 | adjusting the tens digit.
| | 03:40 | So, with the Arrow keys, it'll adjust
whichever digit the cursor is next to.
| | 03:45 | Now I'll go Right arrow,
Right Arrow. See, it's after the 4.
| | 03:50 | Now, Up Arrow, Up Arrow. I am in the tens.
| | 03:54 | Right Arrow, Up Arrow, Up
Arrow. I am In the hundreds.
| | 03:59 | Right Arrow, Up, Up, Up, thousands.
| | 04:02 | Right Arrow, Up, Up, Up, ten thousands,
and on and on ad infinitum.
| | 04:08 | Click outside to lock in the number.
| | 04:12 | Yet another way to adjust them is
with a kind of a virtual slider thing.
| | 04:17 | Put the cursor right between the 2 and the 4.
| | 04:20 | Alt+Middle Mouse, click and drag
and you are editing the number to the
| | 04:26 | right of the cursor,
| | 04:27 | in this case, the ones column.
| | 04:29 | I'll put it over here,
Alt+Middle Mouse, click and drag and I am
| | 04:34 | editing the thousandths.
| | 04:36 | Bring it over here, Alt+Middle Mouse,
click and drag and I am editing the tens.
| | 04:44 | Click outside to lock in the number.
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| Undo and Redo| 00:01 | In an earlier movie, we saw a
glimpse of the Undo/Redo command.
| | 00:04 | Well, now let's take a closer look.
| | 00:06 | I am going to enter a whole bunch of
parameters, click, click, click, click, click.
| | 00:11 | I am coming up to Undo, Undo, Undo,
Undo, Undo, Redo, Redo, Redo, Redo, very
| | 00:19 | robust, love the Undo/Redo.
| | 00:23 | Nuke has another really clever type
of undo called Revert. Here it is,
| | 00:28 | this little funny, quick arrow.
| | 00:29 | Let me show you how that works.
| | 00:31 | I am going to enter in a value of 10 in my Blur.
| | 00:35 | Now I am going to close the Blur
node, come back a little bit later.
| | 00:40 | We will open up the Blur node and it
opens up with a value of 10, of course.
| | 00:44 | Now I will make a bunch of changes and I go, "Hmm,
| | 00:48 | I really want to put it back to
where I had it when I first opened it."
| | 00:51 | That's what the Revert button does.
| | 00:53 | It restores all the parameters to the way
they were set when you last opened the node.
| | 00:59 | This is a life saver.
| | 01:02 | Another way you can reset your
parameters, on any slider in Nuke, if you put the
| | 01:07 | cursor on the bar and Command+click,
that one parameter will reset to default.
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| Adjusting additional node parameters| 00:01 | In this video, we are going to see some
more on how to adjust node parameters.
| | 00:05 | Another convention in Nuke are these
little numbers here, like 2, or down here in
| | 00:10 | the Grade node, you see these 4s.
| | 00:13 | What that means is this slider really
has two parameters hidden underneath.
| | 00:18 | We click on the number 2 and unfold
it and we can now talk to each parameter,
| | 00:22 | in this case, the width and the height.
| | 00:25 | I can set a Blur size width of 50,
tab, and a height of 5, click outside.
| | 00:32 | If I want to fold them back together, I
hit the 2 again and then they will both
| | 00:38 | fold together and inherit the
largest value, in this case, 50.
| | 00:44 | Same thing for the Grade node. Let's say, for
example, I go to the Gain and I unfold the Gain.
| | 00:49 | I now have four parameters:
| | 00:50 | the red, green, blue and alpha.
| | 00:53 | So, I can adjust the red up, for example,
and the green down and the blue down.
| | 00:58 | Maybe I want to put it back, click on
the 4 again and they all concatenate back
| | 01:04 | together and inherit the highest value.
And to reset that one parameter back to
| | 01:09 | default, cursor on the line, Command+click.
| | 01:15 | And if I want to set all the knobs to
default, so I want to sit here and jack
| | 01:19 | this guy way out of shape, like this,
everybody crazy, cursor on the side panel,
| | 01:24 | right-mouse-click pop-up > Set knobs to default.
| | 01:28 | Everybody goes back to the factory defaults.
| | 01:32 | Some of the nodes will have an on-
screen control, like the Transform node.
| | 01:36 | Double-click on the Transform.
| | 01:37 | He pops up here in the Properties
bin and onscreen transforms open up.
| | 01:44 | Every node that has an onscreen
control will display it if it's opened in
| | 01:49 | the Properties bin.
| | 01:50 | So, if you have three or four of those
nodes opened here, you are going to have
| | 01:54 | three or four transforms all
piled up on top of each other.
| | 01:56 | The way you make them hide
is you hide the node itself.
| | 02:00 | So, don't forget that.
| | 02:01 | So, I will unfold the Transform node.
We can now, in addition, of course, to
| | 02:06 | editing the transforms in the
Property panel, we can go onscreen and now
| | 02:10 | interact with the image
on the onscreen controls. All right?
| | 02:17 | And if we want to hide those, fold up
the node, unhide them, bring it back.
| | 02:22 | To reset all this back to the factory
default, again, cursor over on the side,
| | 02:27 | right mouse pop-up > Set knobs to default.
| | 02:33 | One more important convention is the channels.
| | 02:36 | Let me double-click on the
Grade node, put him up at the top.
| | 02:39 | The Grade node affects the red, green,
blue and, if you turn it on, the alpha channel.
| | 02:44 | That's what these guys are right here.
| | 02:46 | So, if I set, for example, if I set a
gain adjustment of 2, if I turn off the
| | 02:52 | red channel, that means I am only going
to get a gain of 2 on the two channels
| | 02:56 | that are still enabled, namely green and blue.
| | 02:59 | If I turn on the red, turn off the
green and blue, now only the red channel is
| | 03:04 | going to get a gain.
| | 03:05 | In other words, whatever the node's
operation is, it will only affect the
| | 03:10 | channels that are turned on.
| | 03:11 | By default, all three channels are turned on.
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| The Node tab| 00:01 | Each node has a separate Node tab with
important features you need to know about.
| | 00:06 | I am going to use the QuickKeys to bring
in, for example, a Blur node and then a
| | 00:11 | Transform node and then a Grade node.
| | 00:15 | The thing I wanted to show you is this
Node tab that you will see on every one
| | 00:18 | of the Property panels for every node in Nuke.
| | 00:20 | Let's take a look at what goes on in there.
| | 00:23 | I am going to click on the Node tab to
open it up and then in the Node Graph, we
| | 00:28 | will zoom in so we can get a
close look at the Grade node itself.
| | 00:33 | The first field here is the Label
field so you can type any label you want.
| | 00:37 | For example, just click in the Label
field and type my label, click outside.
| | 00:46 | And now you can add a label
underneath the name of the node.
| | 00:50 | This entire line of controls
here is to set font features.
| | 00:54 | You can choose a different font, make
it Bold, Italic, set the point size and
| | 00:58 | change the color if you need to.
| | 01:00 | For example, we can make this a 16 point
font and see, the Grade node got larger.
| | 01:06 | Adding labels to your node is important
in order to increase the documentation
| | 01:10 | along with renaming your nodes,
| | 01:12 | so your node graph becomes
easier to understand and troubleshoot.
| | 01:17 | So, there you have it, a real quick
overview of how to adjust all the project
| | 01:21 | settings and node parameters in Nuke.
| | 01:24 | We saw how to set the frame
range, the project format.
| | 01:28 | We also saw how the Property bin worked,
opening Property panels and closing them.
| | 01:33 | We also saw how you had four
different ways to adjust those parameters:
| | 01:37 | move the sliders, type in numbers, use the
Arrow keys, use the Alt-middle mouse drag.
| | 01:45 | We also saw the tremendous Undo/Redo
and my very favorite, the Revert command
| | 01:50 | and don't forget, when you unfold
those parameters, you've got four different
| | 01:54 | things to adjust, or you can
fold them back into one parameter.
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| Project: Compositing a jet fighter over clouds| 00:01 | Now that we have seen how all the bits
and pieces of Nuke work, let's pull it
| | 00:04 | all together and do one workflow demo.
| | 00:08 | We will just comp that same jet fighter
over the cloud background and add a few
| | 00:11 | little whistles and bells
to make a nice little shot.
| | 00:14 | First, we are going to bring in our jet.
| | 00:16 | So, we will come to the Image button,
select the Read node, browse to where we
| | 00:22 | are keeping the jet, which is in
the Lesson_01_Media, select Mr.
| | 00:26 | jet fighter small, click Open.
| | 00:28 | He appears in our Node Graph,
type 1 to connect into the viewer.
| | 00:33 | Now, we will go get the background.
| | 00:36 | Get a Read node, select cloud_flyby, open
that, type 2 to connect into the viewer.
| | 00:43 | Now, let's do our little slap comp
in the viewer gag to make sure our
| | 00:48 | elements are suitable.
| | 00:50 | So, we will come up here to the
Viewer white controls and set it for Over.
| | 00:55 | On the A side, I am going to select
the jet fighter small. On the B side, the
| | 01:00 | cloud_flyby.
| | 01:04 | I can now move this over here, check my
fit, scrub through the plate, play it,
| | 01:12 | make sure that everything fits
together before I start the shot.
| | 01:15 | So, I am happy with this.
| | 01:17 | We will stop that and then we are
going to turn the White back to Normal.
| | 01:23 | Next, we'll want to do our project settings.
| | 01:26 | With the cursor in the Node Graph,
type S on the keyboard to get the Project
| | 01:30 | Settings property panel.
| | 01:32 | The frame range is already 100 frames.
| | 01:34 | That's fine for this.
| | 01:35 | Frames per second is 24. That's good.
| | 01:38 | But our Full Size Format,
or Base Resolution is wrong.
| | 01:42 | In Nuke 5.2, the default Full Size Format
has been changed from PC_Video 640x480
| | 01:49 | to 2K_Super_35 2048x1556.
| | 01:54 | Notice that our clip is 512x389 but the job
is set for 640x480, so we have got to fix that.
| | 02:00 | We will pop up the format list and look at here.
| | 02:05 | Nuke has already added that format to the list.
| | 02:09 | Whenever you import an image that
doesn't fit into a format, Nuke automatically
| | 02:13 | makes a new format for you.
| | 02:16 | So, we will select that and now the full
size format is 512x389, matching our clip.
| | 02:23 | But just to make it a little more
formal, let's give this a proper name.
| | 02:27 | We will go back to the pop-
up and we will say Edit.
| | 02:31 | We are going to be
editing the one that's checked.
| | 02:34 | So, I will click on Edit and we are
going to call this 'jet shot' and it's
| | 02:42 | already got the 512x389.
| | 02:43 | We are just adding the name to it.
| | 02:45 | That's all we are really doing and say OK.
| | 02:48 | Now, the format is jet
shot. It shows the resolution.
| | 02:51 | Up in the Viewer, we can see that our format
is jet shot and the resolution is now 512x389.
| | 02:58 | So, any Nuke nodes, like Checker
nodes or Draw or Bezier, will be the right
| | 03:03 | resolution for the shot.
| | 03:05 | Now that we have the project
settings all set up, we will close that.
| | 03:09 | In fact, we can clear everything out
of the Properties Bin by hitting this
| | 03:13 | little mark right here.
| | 03:15 | This removes everything and
cleans out the Property Bin for us.
| | 03:18 | We are ready to add nodes to our shot.
| | 03:22 | So, first of all, let's set up the composite.
| | 03:24 | We will use the Merge node.
| | 03:25 | Select the jet and the Merge node is
one of those QuickKeys so I type M on the
| | 03:31 | keyboard and it attaches the foreground
to the A side, which is correct, and I
| | 03:38 | will connect the B side to the background plate.
| | 03:41 | We don't need this connection to the
Viewer anymore, because now we are going to
| | 03:44 | be looking at the full composite.
| | 03:46 | We are now looking at the
composite of the jet over the background.
| | 03:51 | We could play that clip,
say yeah, that all looks very nice.
| | 03:56 | Now let's add some nodes to our jet
and our background to make a real shot.
| | 04:00 | So, I am going to move
these down, select the Jet node.
| | 04:03 | I will type G, for Grade node,
because I want to increase the contrast.
| | 04:08 | I am going to darken this guy down a
little bit and I also want to reposition it.
| | 04:14 | So, the Grade node is still selected.
| | 04:15 | I will type T on the keyboard to
add a Transform node and the Transform
| | 04:21 | property panel pops into the Property
Bin and the Transform onscreen controls
| | 04:26 | appear in the Viewer.
| | 04:27 | I will use the onscreen controls to
reposition the jet, but I am going to go
| | 04:31 | back to my Property panel to adjust the scale.
| | 04:34 | I am going to use the Alt+Middle-mouse drag
routine to size it down, like so. Click outside.
| | 04:42 | I don't want to see the onscreen
controls anymore, so I am going to fold up Mr.
| | 04:46 | Transform, so I get a nicer picture.
| | 04:49 | In the next lesson, we are going to see
how to animate all this stuff, but for
| | 04:52 | now, we are just getting the workflow down.
| | 04:56 | Now let's do something nice for the background.
| | 04:57 | We'll select the Background node, type
G to add a Grade node and let's say I
| | 05:03 | want to increase the contrast.
| | 05:05 | So, I am going to drop the Gamma a
little bit and bring the Gain up a little bit.
| | 05:10 | Next, we want to add a
little bit of phony motion blur.
| | 05:12 | So, I am going to add a Blur node, come
up to the Blur property panel and unfold
| | 05:18 | that, so I can add a horizontal blur
of 5. Click off to set.
| | 05:24 | All right. We will come back to our composite
and after you've composited the elements
| | 05:30 | together, of course, you are going to
want to do yet another color correction.
| | 05:34 | So, just for practice, we are going
to clear our Properties Bin again by
| | 05:37 | clicking on the X.
All the property panels are gone.
| | 05:41 | With the Merge node selected, I am going
to type G to add a Grade node and let's
| | 05:46 | say I want to give this a
nice, rosy sunset color.
| | 05:48 | So, I am going to go into Gain,
unfold all four of those and use the
| | 05:53 | Alt+Middle-mouse drag to increase the
gain on the red channel, giving my shot a
| | 05:58 | nice, red sunset look.
| | 06:01 | Let's say we are happy
with the composite so far.
| | 06:04 | It's time for a flipbook.
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| Creating a flipbook| 00:01 | Creating a Flipbook in Nuke is really very easy.
| | 00:04 | We'll select the node that
we want to do the Flipbook.
| | 00:06 | In this case, it's Grade3.
| | 00:08 | Come up to the Render pop-up
and select Flipbook Selected.
| | 00:14 | The default is to do the entire frame
range of the shot, and in Nuke speak,
| | 00:19 | you list that as 1,100.
| | 00:21 | Nuke5.2 adds another frame range
syntax where you can also use the
| | 00:26 | more conventional 1-100.
| | 00:29 | If I wanted to do frames 20
to 50, I would say, '20,50.'
| | 00:35 | But we want to do 1 to 100, so
I'll put that in, and we'll say, OK.
| | 00:40 | Nuke is now computing the Flipbook,
rendering it to RAM, not to disk.
| | 00:46 | As soon as the render is complete, Nuke
will start FrameCycler for us, which is
| | 00:50 | the Flipbook program that comes with Nuke.
| | 00:53 | Those with the PLE version
don't get the Flipbook program.
| | 00:57 | You'll have to render a QuickTime movie to disk.
| | 00:59 | Put your cursor in the Viewer and
middle mouse to reposition it up.
| | 01:05 | Down at the bottom, these are all
the playhead controls, the usual.
| | 01:08 | There's your Play Forward, Play Backward,
Stop, Single Frame, Go to the End, Go
| | 01:14 | to the Head, and of course, you can
drag the playhead here, or use the arrow
| | 01:20 | keys to single step forward and backward.
| | 01:22 | So, we'll set this off to Play.
| | 01:24 | The beautiful part about the
Flipbook is these are pre-rendered frames
| | 01:28 | coming out of memory.
| | 01:30 | So, Flipbook guarantees to be
playing them back at the proper frame rate.
| | 01:35 | You don't get that guarantee if
you do it within Nuke.
| | 01:38 | All right. We'll stop this, and we'll close
our Flipbook by clicking on the little
| | 01:45 | red button to Close.
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| Rendering to disk| 00:00 | Now that we have a Flipbook we like,
it's time to render the shot to disk.
| | 00:05 | We need a Write node to
write the frames to disk.
| | 00:08 | We'll select wherever we want to put
it, right here after the Grade 3 node,
| | 00:12 | come up to our Image button
and look for a Write node.
| | 00:16 | Now the Write and the Read nodes are
two nodes that have those QuickKeys.
| | 00:22 | So, instead of clicking on it from here,
I can just come down here, and type W
| | 00:26 | on the keyboard to get my new Write node.
| | 00:29 | It pops up in the Property panels.
| | 00:32 | I'm going to open up the window here,
so we can see the full path name.
| | 00:37 | First thing we want to do is browse
to where we want to put our folder.
| | 00:42 | We'll browse to where we want to put it.
| | 00:45 | Let's say we're going to put
our render here with our Lessons.
| | 00:49 | We need to create a folder.
| | 00:50 | I'll come up to the folder Plus icon
and click that, and now we get to type in
| | 00:56 | the name of our new folder, so
we call this 'jet comp,' click OK.
| | 01:01 | Notice that Nuke has actually
put you inside your new directory.
| | 01:04 | So, now we're ready to just type the file name.
| | 01:07 | We'll call it 'jet comp.####.tif.'
| | 01:14 | I told Nuke the prefix for
every frame will be jet comp.
| | 01:18 | The four pound signs mean 'make this
four digit padded,' and the .tif is 'I'm
| | 01:24 | rendering a tif file.'
| | 01:25 | Okay, we'll click Save.
| | 01:28 | That information is now all
entered right here in the file.
| | 01:31 | You see the full pathname, and the
frame numbers and the .tif, the extension.
| | 01:38 | Nuke looks at this extension and goes,
'Okay, the file type you want is a tif.'
| | 01:43 | Of course, if you wish, you could
force a different file type, but of course,
| | 01:47 | you're normally not going to do that.
| | 01:49 | Within this File Type, there might
be another option, such as Data Type.
| | 01:53 | We might want an 8 or a 16 bit.
| | 01:55 | We'll leave it at 8.
| | 01:57 | The default compression mode is Deflate.
| | 01:59 | Now this works fine for
Nuke in some applications,
| | 02:02 | but there are other applications that
cannot read a Deflate compressed tif file.
| | 02:07 | For those apps, you may want to
switch to an LZW Compression Scheme.
| | 02:13 | Okay, our Write node is all filled out.
| | 02:15 | We're almost ready to render,
| | 02:17 | but before we do, we need
to save our shot to disk.
| | 02:20 | So, we'll come up here to File, click
on Save, and browse to where we're going
| | 02:27 | to save our Nuke script.
| | 02:28 | I'm going to put this in here in the
Lesson_01_Nuke_Scripts folder for you, so
| | 02:33 | that you'll have something to play
with later and we'll call it 'jet comp.'
| | 02:37 | Notice, no extension.
| | 02:39 | Nuke will append the extension itself.
| | 02:41 | So, you just type the name of the script.
| | 02:43 | I'll click on Save, and now look up here.
| | 02:48 | My job now has the name
of my script, jet comp.nk.
| | 02:52 | That's your clue that you have saved it to disk.
| | 02:56 | We come to the Write node, click on
Render, and we get the same frame range
| | 03:01 | option we saw before, and I want to
render the whole shot, so I'll just click OK.
| | 03:06 | Nuke gives me this little progress
bar here, so I can keep an eye on my
| | 03:09 | render, and it's busily rendering all the
frames to disk, and when it's done, it'll go away.
| | 03:16 | Now let's load and play the
clip that we just rendered.
| | 03:19 | I'll scooch this over.
| | 03:20 | I'll come up here and get a Read node.
| | 03:25 | Here's our jet comp render folder.
| | 03:27 | I'll click on that, and
there is our 100 frame clip.
| | 03:32 | If I turn off the Sequence toggle,
I'll see all the individual frames and you
| | 03:36 | can see the four digit padding.
| | 03:38 | You'll notice it says here, instead of
four pound signs, like it said over here,
| | 03:44 | Nuke calls this %04d.
| | 03:47 | Well, this is UNIX speak for
four digit padded decimal numbers.
| | 03:52 | Nuke uses this convention when
displaying the clip to you, even though you typed
| | 03:56 | in the four Pound signs. Not to worry.
| | 03:59 | It all works.
| | 04:00 | We'll click on the clip to Open.
| | 04:05 | It pops into our Node Graph.
Command+I to add a viewer.
| | 04:08 | We're now looking at our composited clip.
| | 04:11 | We'll play our clip and admire our shot. Oh!
| | 04:14 | It's very nice.
| | 04:18 | Okay, we'll stop that.
| | 04:21 | The last thing we need to do is
pretend that we've gone home, and we want to
| | 04:25 | come back tomorrow and reload the script.
| | 04:28 | So, let's check on that.
| | 04:30 | Before we do that, let's delete this,
| | 04:34 | switch back to Viewer1, and
we'll save our script afresh.
| | 04:41 | To close Nuke, the File > Close command.
| | 04:47 | This clears all scripts and parameters out
of Nuke and restarts a brand new Nuke session.
| | 04:52 | So, we're going to close
that, and Nuke restarts clean.
| | 04:59 | Now it's the next day.
| | 05:01 | We want to load the script that we just created.
| | 05:04 | So, we'll go to File > Open,
browse to the workshop where we kept it.
| | 05:11 | We left our script in Lesson_01_Nuke_Scripts.
| | 05:14 | One click, select the jet comp, say
Open, and we get our shot back, and now we
| | 05:20 | can play our clip, and there you have it.
| | 05:27 | In this movie, we took a quick look at
the overall Nuke workflow, loading in
| | 05:32 | clips, compositing them, doing a
slap comp, set up the project settings,
| | 05:38 | adjusting the brightness and the gamma,
and adjusting transforms with a little
| | 05:42 | motion blur, doing the merge and then
color correcting the final composite.
| | 05:46 | We even did a little Flipbook preview.
| | 05:49 | Then we added a Write node
and did a render to disk.
| | 05:54 | We even saved our script and
loaded it again the next day.
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|
|
2. Transformations and AnimationThe Transform Jack| 00:01 | Before we take a look at animation,
we need to take a look at the onscreen
| | 00:04 | controls with the Transform node,
or what they call the Transform jack.
| | 00:09 | To make a nice, simple example, let's go to
the Image tab and get ourselves a CheckerBoard.
| | 00:13 | It comes in selected.
| | 00:15 | To add the Transform node, all we have
to do is press T on the keyboard and to
| | 00:20 | connect that up to the viewer, all we
have to do is press 1 and that'll hook it
| | 00:23 | up to the input 1 of the viewer.
| | 00:26 | Let me increase the size of our Viewer
window here, so we can see what's going on.
| | 00:33 | And we don't need the CheckerBoard
anymore, so we'll close that Property panel.
| | 00:38 | And the Transform node is one of many
nodes that has onscreen controls and
| | 00:42 | don't forget you can hide them by going
up to the Transform tab and folding it
| | 00:46 | up with the little triangle.
| | 00:49 | The onscreen Transform control
duplicates all of the functions you see here
| | 00:53 | in the Property panel.
| | 00:55 | Put in the cursor inside the circle,
Click+Drag and we can do a Translate.
| | 01:01 | I can move the Pivot Point or what they
call the Center, by putting the cursor
| | 01:05 | on the center point, Command+Click+
Drag and that repositions the Pivot Point.
| | 01:11 | This is the Rotate bar, so we can introduce
a rotate and we'll Control+Z to undo that.
| | 01:21 | This is the scale ring.
| | 01:23 | If you put your cursor right
on that ring, Click+Drag,
| | 01:26 | you can do a uniform scale
in X and Y. We'll undo that.
| | 01:31 | If you want a constrained scale in X,
it's either this button or that one,
| | 01:36 | Click+Drag, constrain scale in X, Undo.
| | 01:41 | A constrained scale in Y, this button or
that button, Click+Drag, undo. And for a
| | 01:49 | skew just use the skew handles here or
here and introduce a skew to the picture.
| | 01:56 | We'll reset the entire node with the
rightmost pop-up > Set knobs to default.
| | 02:02 | One thing I wanted to show
you was the 10 key pad nudge.
| | 02:06 | We'll zoom in here a little bit.
| | 02:08 | On the 10 key pad, but your
middle finger on the number 5.
| | 02:13 | Now tap the number 4, left, left, left,
left, left, or the number 6 right, right,
| | 02:19 | right, right, right.
| | 02:21 | You can nudge it up with the 8 up, up, 8,
8, 8 or down with the 2, 2, 2, 2, 2, 2.
| | 02:28 | So, the 10 key pad nudge works with
all onscreen transforms as well as all
| | 02:34 | control points on any spline, such
as animation curves or bezier splines.
| | 02:42 | In addition, to the onscreen
controls, of course, we can go up and edit the
| | 02:45 | parameters themselves right here using
all the editing capabilities that we saw
| | 02:49 | in the previous movies:
| | 02:51 | typing in a number, or set the cursor
and click next to it and do up and down
| | 02:56 | arrows, or plant the cursor in the
middle, do Alt+Middle mouse+Drag or if you
| | 03:04 | have a slider, move the slider.
| | 03:08 | And if we want to reset any slider back
to default, just do Command+Click on the
| | 03:13 | slider bar and that one
parameter goes back to default.
| | 03:16 | If you want to set just this one window
back to default, right-mouse-click and
| | 03:21 | Set to default and that one
parameter will go back to default.
| | 03:26 | Now that we know how to use the on-
screen Transform jack, we are ready to take a
| | 03:30 | look at keyframe
animation in our very next movie.
| | Collapse this transcript |
| Setting keyframes| 00:00 | Now let's take a look at
keyframe animation itself.
| | 00:04 | For each parameter, you can
turn on keyframe animation.
| | 00:08 | You can also turn on keyframe animation
for every parameter by doing the right
| | 00:12 | mouse click > Set key on all knobs.
| | 00:15 | Normally, you're not going to do that.
| | 00:17 | Normally, you are just going to set keyframe
animation for one, or two, or three parameters.
| | 00:21 | Let's take a look at the translate.
| | 00:25 | This little wavy line is
the Animation menu symbol.
| | 00:28 | If I put my cursor on that,
right mouse and Set key,
| | 00:32 | I am going to set a keyframe for
both parameters. Let me undo that.
| | 00:37 | If I only want a keyframe for one
parameter, let's say translate x, I'll put the
| | 00:43 | cursor in the translate x field, right
mouse, Set key, just that one parameter
| | 00:48 | will get a keyframe.
| | 00:49 | I want to set a keyframe for both and
you'll notice that when I am on a keyframe,
| | 00:55 | I get this bright turquoise color.
| | 00:57 | If I move off the keyframe,
I get a dim turquoise color.
| | 01:03 | So, the dim turquoise says this
parameter has keyframing enabled.
| | 01:09 | Bright turquoise says you're on the keyframe.
| | 01:11 | So, I have enabled
keyframing for frame 1 on my timeline.
| | 01:16 | I'm going to translate it down to this corner.
| | 01:19 | I am going to set a second keyframe at
frame 50 and just drag to my new position
| | 01:26 | and then I'll jump to the last
frame and set one more keyframe.
| | 01:32 | If keyframing is enabled for a parameter,
then any time you change the numbers,
| | 01:36 | it plants a new keyframe there.
| | 01:38 | We will go back to the first frame and
play our little animation and we now have
| | 01:43 | a nice keyframe animation and Nuke is using a
very nice spline motion path here. We'll stop that.
| | 01:51 | I am going to jump back to a keyframe
and you can see, again, bright turquoise,
| | 01:57 | you are on a keyframe, dull turquoise,
| | 02:01 | this parameter has keyframe
enabled, but you're not on a keyframe.
| | 02:05 | Notice, on the timeline, I also get the
little tick marks, turquoise tick mark
| | 02:10 | here, one at the beginning and one over here.
| | 02:13 | You can't see it, it's kind of like
buried under there, but it's there.
| | 02:15 | So, you will get a turquoise tick
mark on the timeline for every frame that
| | 02:20 | you have a keyframe.
| | 02:22 | Notice something new has been added
to the Transform node. It's marked with
| | 02:25 | a letter A. This is a symbol that tells
you that this node has an animation inside.
| | 02:31 | Nuke has a variety of symbols
that it dots around the node
| | 02:34 | that gives you information on what's
going on inside, so you don't have to open
| | 02:38 | every node in the Property
panel to know what's going on.
| | 02:43 | We'll reset the Node Graph.
| | 02:45 | To delete a keyframe, go to
the keyframe in question -
| | 02:49 | here we are on frame 50, come up to the
Property panel, then I'll use the right
| | 02:54 | mouse pop-up and say Delete key and
it's deleted both keys off of that.
| | 02:59 | I am going to undo that.
| | 03:01 | If I only wanted to delete the key
for translate x, put the cursor in the x
| | 03:05 | field and say Delete key and
only that one will get deleted.
| | 03:09 | But in this case, I want to delete them both.
| | 03:11 | So, I am going to Delete key.
| | 03:13 | Again, we lost the bright turquoise,
meaning we are no longer on a keyframe, but
| | 03:17 | we do have keyframe
animation for this parameter.
| | 03:22 | And notice, it's disappeared off the timeline.
| | 03:24 | We no longer have our
little turquoise tick mark.
| | 03:28 | If I want to delete all the animation
for a parameter, I come up here and click
| | 03:33 | on No animation, and that will delete
all animation curves, all keyframes, and
| | 03:40 | simply hold a constant value.
| | 03:42 | The constant value it'll hold is whatever
is in the window on the frame you are on.
| | 03:47 | So, what you want to do is first, go to
the frame that has a position where you want.
| | 03:52 | Then set No animation.
| | 03:56 | You get the little confirmation message.
Click Yes, and the values that were
| | 04:01 | showing for that frame will
become a constant for the entire shot.
| | 04:06 | I no longer have any animation and it holds
that position over the length of the whole shot.
| | 04:11 | In our next video, we'll take a
look at how to do motion blur.
| | Collapse this transcript |
| Motion blur| 00:01 | Let's take a look at the motion blur.
| | 00:03 | I am going to set all knobs to default.
| | 00:06 | I am going to set a keyframe
on the first frame for rotate.
| | 00:09 | We are going to use rotate for this.
| | 00:10 | So, I will Set key, then I am going
to jump to the last frame, on frame 100,
| | 00:16 | and set rotate for 1000 degrees, so that I
get a nice, fast rotation, a big rotation here.
| | 00:21 | All right. We'll zoom in.
| | 00:24 | Here's our motionblur setting.
| | 00:26 | 0 means no motion blur.
| | 00:29 | Typically, you will set it for 1.
| | 00:30 | 1 is the normal setting.
| | 00:33 | This motion blur number does not
change the amount of motion blur.
| | 00:37 | It changes the motion blur quality.
| | 00:39 | If I set a very low value,
I get gritty calculation.
| | 00:44 | If I set a high-value, I get
much smoother calculations.
| | 00:47 | Of course, the higher the value,
the longer the render time.
| | 00:53 | There's one more thing I wanted to
show you about motion blur and that's the
| | 00:56 | last frame phenomenon.
| | 00:58 | Notice I am on frame 97.
| | 01:01 | I am going to step forward to 98, 99 and 100.
| | 01:07 | Notice that on frame 100 I have no motion blur.
| | 01:10 | The reason is motion blur is calculated from
the frame you're on compared to the next frame.
| | 01:17 | Well, there is no motion between 100 and 101.
| | 01:22 | So, there's no motion blur at frame 100.
| | 01:25 | To fix that, I am going to have to
move my keyframe out to frame 101.
| | 01:29 | So, you can see better, I am
going to shift the timeline.
| | 01:34 | You recall that Alt+Click+Drag is the
universal pan control for all windows in
| | 01:38 | Nuke and that includes the timeline.
| | 01:40 | So, I can do Alt+Click+Drag the timeline.
| | 01:43 | Also, Alt+Middle mouse and scale.
| | 01:47 | That works as well.
| | 01:48 | So, we can scale and zoom the timeline.
| | 01:51 | What I want to do is I want to move
this keyframe from frame 100 to frame 101.
| | 01:56 | Easy way to do that is I am going to
simply step to frame 101, come up here and
| | 02:02 | say set a keyframe here.
| | 02:04 | Then I'll back up to frame 100 and
simply delete the one on frame 100.
| | 02:12 | I now have moved that keyframe to frame 101.
| | 02:17 | So, now, I have motion blur on frame 100.
| | 02:19 | So, I got 98, 99, 100 have motion blur
and 101 does not, but that's outside of
| | 02:25 | my timeline, so I don't care.
| | 02:28 | To reset the timeline back to the home
position, put the cursor on the timeline
| | 02:32 | and click the middle mouse button and
that will re-home the timeline for you,
| | 02:37 | just like it'll re-home the
Viewer and re-home the Node Graph.
| | 02:44 | In this movie, we saw how the Transform
node is controlled with both onscreen
| | 02:47 | controls and by editing the
parameters in the Property panel.
| | 02:52 | We also saw that very
important ten keypad nudge capability.
| | 02:57 | For keyframe animation, don't forget,
go to the frame first, then enable the
| | 03:01 | keyframes, then edit the values.
| | 03:05 | You can always tell when a parameter has
keyframing enabled, because it turns turquoise.
| | 03:10 | When you're on a keyframe, it's bright
turquoise and the timeline will also
| | 03:14 | show you turquoise tick marks.
| | 03:17 | And don't forget, on the motion blur thing,
| | 03:20 | if you get to the last frame and you
have no motion blur, now you know what
| | 03:23 | to do about it.
| | Collapse this transcript |
| Showing and hiding curves| 00:01 | In our last movie, we used the
Transform node to do some keyframe animation.
| | 00:05 | Now in this movie, let's see how to
use the Curve Editor in order to edit
| | 00:09 | our animation curves.
| | 00:11 | Again, we are going to build a
nice simple script to play with.
| | 00:13 | Let's go get our CheckerBoard, our good friend.
| | 00:17 | We'll add a Blur node, with B on the
keyboard, a Transform, with T, and connect it
| | 00:22 | to the Viewer's number 1 input, with 1.
| | 00:25 | See? This is getting very fast, very slick.
| | 00:28 | First, we need to create some
animation curves to play with.
| | 00:31 | So, I am going to get rid
of Mr. CheckerBoard here.
| | 00:33 | I don't need him. Double-click on the
Blur node, check that I am on my first
| | 00:38 | frame, go to my size parameter and Set
keyframes and we'll punch in a value on this frame.
| | 00:46 | Jump to a new frame, set a new value,
jump to a new frame, set a new value, jump
| | 00:52 | to the last frame and set a value.
| | 00:54 | I now have four keyframe sets for the blur here.
| | 00:59 | We'll double-click on the Transform
node to put him at the top of the stack.
| | 01:04 | Go back to the beginning, first frame,
Set keyframes for the translate x and y.
| | 01:09 | We'll put him here on the first frame, there,
jump to here and jump to the last frame.
| | 01:20 | There.
| | 01:21 | Now we have a nice, little animation
curve for translate x and translate y.
| | 01:26 | Again, back to the first frame. We'll go
to rotate, Set a keyframe, set a bit of
| | 01:32 | rotate here, jump out, do a little rotate,
jump to a new frame, a little rotate,
| | 01:41 | and jump to the last frame, a little rotate.
| | 01:45 | Okay, now we have got something
to play with in our Curve Editor.
| | 01:49 | First, let's clear all the Property
panels out of the Property bin, by clicking
| | 01:54 | on the little white X here,
and we'll open the Curve Editor.
| | 01:58 | The Curve Editor tab sits
next to the Node Graph tab.
| | 02:01 | We'll open the Curve Editor
and nobody home. All right.
| | 02:06 | Now we'll go back to the Node Graph.
| | 02:08 | We'll put the Blur node in the
Properties bin, go to the Curve Editor
| | 02:13 | and there's the blur.
| | 02:15 | We'll go back to the Node Graph, double
-click on the Transform node and now
| | 02:19 | we have Transform and Blur in the property bin.
Go to the Curve Editor and there they are.
| | 02:25 | The bottom line is whatever Property
panels are open, they show up in the Curve
| | 02:30 | Editor when you open it.
| | 02:33 | Now if you fold them up - we'll go to the
Transform and this is our little hide button here,
| | 02:39 | fold up the Transform,
| | 02:40 | he disappears out of a Curve Editor.
| | 02:42 | So, that's another control that you have.
| | 02:44 | We will put him back.
| | 02:47 | Well, now we know how to make the entire
node appear and disappear in the Curve Editor.
| | 02:51 | So, let's take a look at individual curves.
| | 02:54 | Curves that are displayed in the
Viewer are lit up with the yellow line.
| | 02:57 | If I click off to the side over here, click,
deselecting all the curves, they disappear.
| | 03:04 | I click on one curve, he shows up.
| | 03:07 | Deselect, he goes away.
| | 03:10 | I can click on just the Y curve.
| | 03:13 | I can click on the translate,
and both x and y will show up.
| | 03:18 | I can click on Transform node
and all three curves show up.
| | 03:23 | Deselect to disappear.
| | 03:25 | You can also cherry-pick and have
a little pick list, for example.
| | 03:29 | I'll pick the rotate curve, hold down
the Command key and click the Blur curve,
| | 03:35 | and just pick those two curves to show up.
| | 03:39 | Click to the side to deselect.
| | 03:41 | We can also fold up the trees to make
for a tidier display if we wish, but now I
| | 03:47 | can only display one entire node.
| | 03:51 | This gives me no selection
over the individual curves.
| | 03:53 | So, normally, you are going to leave
this all unfolded, so that you have
| | 03:58 | maximum access.
| | Collapse this transcript |
| Navigating in the Curve Editor| 00:01 | Okay, now let's see how we do
navigation in the Curve Editor.
| | 00:04 | I'm going to click on the translate curves.
| | 00:06 | Get them both in the Viewer.
| | 00:08 | To pan, like the other windows,
Alt+Left mouse+Click+Drag okay.
| | 00:13 | To zoom, same thing, Alt+Middle mouse,
but now there is a different thing here.
| | 00:18 | If you do Alt+Middle mouse, you got
horizontal separate from vertical zoom.
| | 00:23 | If you want a uniform zoom, Alt+Middle
mouse+Click diagonally and that will get
| | 00:29 | you a fairly uniform zoom.
| | 00:31 | And of course, the 10 key pad Plus key
and Minus key will also zoom in, and if
| | 00:38 | your mouse has a thumb wheel, you
can dial the zoom in and out with that.
| | 00:43 | You can reset the zoom of the window to
fill the viewer with the curve with the F key.
| | 00:50 | Also, the middle mouse button, click
on that. It's the same as the F key.
| | 00:56 | You might recall that in the Viewer, we
could draw a zoom box with Shift+Middle
| | 01:01 | mouse+Drag and then the
Viewer would zoom into that box.
| | 01:04 | Well, that's not
consistent here in the Curve Editor.
| | 01:09 | In the Curve Editor, we can do a zoom
box, but it's only Middle mouse+Click-and-
| | 01:13 | drag. Don't know why the
inconsistency, but it is.
| | 01:17 | F key, to refit the curve to the viewer.
| | 01:21 | Now let's a look at Nuke's
behavior in fitting curves in the Viewer.
| | 01:25 | I'm going to deselect this curve.
| | 01:27 | If I bring in a curve here and I hit the F key,
| | 01:30 | it's going to fill the viewer with that curve.
| | 01:33 | I'm going to add the translate curves
with a Command+Click, but you see they are
| | 01:38 | way outside the Viewer.
| | 01:40 | So, the F key will, again, fit the
curves to the Viewer, but it fits the largest
| | 01:46 | curve inside the Viewer.
| | Collapse this transcript |
| Editing curves| 00:01 | Now let's take a look at how we edit curves.
| | 00:03 | I'm going to deselect this, select the
Blur curve, put my cursor in the viewer
| | 00:09 | and hit the Spacebar to fill the screen
with the Curve Editor, so we can take a
| | 00:15 | close look editing these points.
| | 00:17 | I'll hit the F key to fill
the frame with the Blur curve.
| | 00:22 | First of all, let's see how we add points.
| | 00:24 | Put the cursor on the line,
hold down Alt+Command+Click.
| | 00:29 | On the line, Alt+Command+Click.
| | 00:33 | This is how you insert a control point
in any curve, anywhere in Nuke, whether
| | 00:39 | it's animation curves,
Bezier curves, shapes, everything.
| | 00:45 | To move the point, simply click and
drag the point, and you might notice
| | 00:50 | something kind of odd.
| | 00:51 | I'm not able to move this point
horizontally, because when I first grabbed it, I
| | 00:56 | moved it vertically.
| | 00:58 | Nuke has a constrained
motion automatically built-in.
| | 01:01 | If you click on a point and start
moving it horizontally, you cannot move it
| | 01:05 | vertically after that.
| | 01:07 | If you start moving it vertically,
you cannot move it horizontally.
| | 01:11 | This protects you from accidentally
shifting frames or values when you don't want to.
| | 01:17 | If you want to move it in both X and Y
simultaneously, you must hold down the
| | 01:22 | Command key, then you can move it
in all directions at the same time.
| | 01:28 | If you want to pick several control points
to select, that's done with the Shift key.
| | 01:32 | So, I'll click on this one and I'll
do a Shift+Click on this one and then a
| | 01:38 | Shift+Click on that one, and now
those points are all selected. Deselect.
| | 01:45 | You can also drag a box and it'll
select all the points inside your box.
| | 01:49 | Now you notice this
little rectangle has popped up.
| | 01:55 | This is the move box. Boy I've wished
I had this many times in the past.
| | 02:00 | If you select two or more points, you're
going to get this box, and this box can
| | 02:06 | be used to move and scale the points.
| | 02:09 | It's sort of a transform control.
| | 02:12 | If you put the cursor in the middle and
get the Plus, you'll be able to move the
| | 02:16 | points in all directions.
| | 02:19 | Move it up to get just a
little horizontal arrow,
| | 02:21 | you're constrained to horizontal move only.
| | 02:23 | You can't go vertically.
| | 02:25 | This will get you a constrained vertical
movement, not horizontal, but here is my favorite part.
| | 02:29 | You can grab these edges and scale
the box like this. Very, very nice.
| | 02:37 | Okay, deselect, the box goes away.
| | 02:40 | I'm going to Undo, Undo, Undo,
Undo, Undo. There we go.
| | 02:42 | Now let's take a look at
adjusting the slope of the control points.
| | 02:48 | If we select the points,
the tangent handles appear.
| | 02:52 | We click and drag on the tangent
handles and we can adjust the slope.
| | 02:57 | If I want to introduce a break, I
select the point, right mouse pop-up and
| | 03:02 | there is the Break.
| | 03:03 | Notice it has X as a quick key.
| | 03:05 | If I click on that, it breaks the
tangency and now, I can adjust the
| | 03:09 | points individually.
| | 03:15 | If I adjust the slope of one of
the tangents to where it's exactly
| | 03:18 | horizontal with the other one,
they'll relock, like that, and now, they are
| | 03:23 | locked back together again.
| | 03:25 | If I want to break it, I can just
hit the X key. Bang! And off, they go.
| | 03:30 | I have broken the tangency again.
| | 03:34 | And by holding down the Command key, you
can adjust the tension of the tangent handles.
| | 03:39 | You can also edit the
control point data directly.
| | 03:43 | If I click on this point, you see
a bunch of numbers are showing up.
| | 03:47 | Those are numbers that I can edit myself.
| | 03:50 | Now I want to point out
something very important here.
| | 03:53 | Watch the cursor. Right now,
I have got a little arrowhead.
| | 03:56 | I move it up there. I get a Plus.
| | 03:58 | I move it over here I get a text editing cursor.
| | 04:01 | If I have got the Plus
cursor, I can move the point.
| | 04:04 | If I've got the Text Editing cursor,
if I click on it, I get a text field.
| | 04:10 | I type in my new number, 35, and you must
terminate with a Return key, Return, and
| | 04:17 | now that value is exactly 35.
| | 04:19 | If I want to adjust the slope
- sometimes it can be tricky.
| | 04:25 | You want to get this cursor on here and
you're getting the Text Editor when you
| | 04:30 | don't really want to.
| | 04:31 | Now you see you have to be very careful and
get that little Plus sign, like that, there.
| | 04:40 | That says I'm grabbing the handle.
| | 04:43 | Okay, click off, to the side to deselect.
| | 04:46 | In addition to editing the curves and
their points, you can also select several
| | 04:50 | different types of curves, which is
what we'll see in our very next movie.
| | Collapse this transcript |
| Curve types| 00:00 | Now let's take a look at the
different curve types that we can use to
| | 00:03 | interpolate between our control points.
| | 00:06 | To select all the control points in
the curve, Command+A. Only when you have
| | 00:12 | control points selected, can you
change the type of curve interpolation.
| | 00:17 | So, right mouse pop-up.
| | 00:19 | If I set it for Linear, I'm going to get
straight linear lines between all my control points.
| | 00:25 | Again, my control points are still selected.
| | 00:28 | Right mouse pop-up > Smooth,
which is what you're used to.
| | 00:31 | This is the default, is Smooth.
| | 00:34 | Again, they're all still selected.
| | 00:35 | I'm going to do a Catmull-Rom, which is
a slightly different kind of spline, and
| | 00:40 | then the Cubic is yet
another different kind of spline.
| | 00:44 | The Constant Interpolation is
what many would call a Step Function.
| | 00:48 | We get these little staircases.
| | 00:52 | Again, all my control points are
selected now, so now I can go down to say
| | 00:56 | Smooth and restore my smooth curve,
| | 00:59 | but I can also set different
segments of this line for different
| | 01:03 | interpolation types.
| | 01:04 | For example, I'll select these three
points and say Interpolation > Linear and I
| | 01:11 | get a straight line there.
| | 01:13 | I'll select these three
points and say I want Cubic.
| | 01:19 | Then I'll select these two
points and say I want a Constant.
| | 01:26 | So, I get a nice, square wave here.
| | 01:31 | So, you can set different interpolation
types in different parts of your curve.
| | 01:36 | Select them all and we'll go back to Smooth.
| | 01:43 | One more interpolation type that's very
important - I'm going to pan over here
| | 01:47 | and take a look at this point right here
- is if you want to do an ease-in or an
| | 01:52 | ease-out. Select the control point and
set the Interpolation for Horizontal, and
| | 02:00 | that means to set the slope
to zero at that control point.
| | 02:04 | If we wanted an ease-in, we'll go
to this guy, select him, and say
| | 02:10 | Interpolation > Horizontal.
| | 02:14 | F key to fit to the Viewer.
| | 02:19 | One more important curve editing function
is what they call the before and the after.
| | 02:23 | I'm going to select this
and turn the slope like that.
| | 02:25 | You'll notice that the line
is continuing off to infinity.
| | 02:29 | So, I have the ability to select two
different rules for what happens after
| | 02:35 | the last control point.
| | 02:36 | Select that control point,
right mouse pop-up > After.
| | 02:41 | If I say Constant, it's going to
hold that value constant, to infinity.
| | 02:46 | If I select Linear, it's going to
follow the slope of that line to infinity.
| | 02:52 | Remember, this is the last
frame in the curve, so I used After.
| | 02:58 | If I want to set it for the
first point, I need to do Before.
| | 03:01 | I'm going to change the slope of
this. Okay, so I'll select this point,
| | 03:07 | right mouse pop-up.
| | 03:09 | If I say Constant, it's going to hold
the value from infinity up to this point,
| | 03:14 | or set it for Linear and it'll
keep the slope up to this point.
| | 03:20 | So, Before and After are used specifically for
the first and last control points in a curve.
| | 03:29 | Now in this movie, we saw how to
display our curves, turn them on and off, how
| | 03:33 | to navigate the Viewer window, how to
add points, editing curves, moving them,
| | 03:38 | the move boxes, setting interpolation
types, but this is not everything, okay.
| | 03:45 | The manual has many more functions for the
Curve Editor and you should read the manual.
| | 03:49 | What we're doing here is I like the 80-20 rule.
| | 03:52 | 20% of the stuff gets you 80% of the action.
| | 03:57 | So, what we've covered in this video is
what you're to be using almost all the
| | 04:00 | time, but do read the manual because
there are some other features and functions
| | 04:05 | that you'll want to know about in your projects.
| | Collapse this transcript |
| Linking parameters| 00:01 | Linking parameters and introducing
mathematical expressions into our animation
| | 00:05 | is a critical part of compositing,
so let's see how Nuke to does it.
| | 00:09 | We will get our checkerboard. We will
add a Translate node, a Blur node and then
| | 00:16 | connect it up to the Viewer.
| | 00:18 | And we don't need the checkerboard
anymore, so we will get rid of him.
| | 00:22 | I am going to put the Transform
node at the top by double-clicking.
| | 00:28 | Let's say I want to link the
Blur size to the Rotate parameter.
| | 00:32 | I will put my cursor on the
Rotate parameter and select it.
| | 00:37 | Command+Click, drag-and-drop. That's it.
| | 00:40 | Now the Blur size is
directly connected to the Rotate.
| | 00:48 | As I adjust the Rotate, you can
see the Blur size is following.
| | 00:53 | Notice that the Blur node now has a new
symbol attached, a letter E. The letter
| | 00:58 | E stands for an Expression.
| | 01:00 | This is like the letter A, for Animation.
| | 01:02 | So, Nuke puts these little symbols on your
node to let you know what's going on inside.
| | 01:07 | This saves you the trouble of having to
open the node every time you want to know.
| | 01:11 | Now, let's give the rotate
some keyframes for animation.
| | 01:14 | We will jump out here, set the Rotate,
here, another Rotate, and go to the end,
| | 01:22 | one more keyframe there.
| | 01:24 | Now let's take a look at the animation
curves for the original Rotate parameter
| | 01:29 | compared to the Blur size.
| | 01:30 | We will open up the Curve Editor and
we will put the original Rotate in the
| | 01:36 | Viewer, and this is what you would expect.
| | 01:39 | Here's the Rotate curve with
keyframes here, here, there and there.
| | 01:44 | So, I want to clear that and bring in the Blur.
| | 01:46 | It's the same curve, but no control points.
| | 01:49 | That's how you can tell
that a parameter is linked.
| | 01:53 | Back to our Node Graph.
| | 01:55 | Now we just saw how to link parameters
between two nodes, but you, obviously, can
| | 01:59 | link parameters within a node.
| | 02:01 | Let's take a quick look.
| | 02:03 | Come up to Translate, Command+Click,
drag-and-drop on the Translate y. Now the y
| | 02:09 | parameter is linked to the x parameter.
| | 02:12 | But we can also copy parameters.
| | 02:15 | We don't have to just link them.
| | 02:17 | So, I am going to take this
parameter and set him back to default.
| | 02:21 | Let's say that the Translate x is 50.
| | 02:24 | Now, if you want to copy the data,
not link it, select the field,
| | 02:29 | Shift+Command, click and drag.
| | 02:32 | Tragically, they look the same, but when
I drop it off, we will see now that the
| | 02:36 | y has copied the 50 from the x. But if
I change the x, it's no longer linked to
| | 02:42 | the y. So, to link things, you do a
command drag-and-drop - to copy them,
| | 02:48 | it's a Shift+Command drag-and-drop.
| | 02:52 | Our next movie is about expressions,
and we'll see how a link is actually
| | 02:56 | an expression.
| | Collapse this transcript |
| Link expressions| 00:01 | Now let's take a look at the
expression that creates the link.
| | 00:04 | We will come down to the
Blur node, select the size.
| | 00:08 | Right-mouse pop-up, and this is where
we look at the expressions that might be
| | 00:13 | driving a parameter if they exist.
| | 00:15 | A link is an expression and
here's what it looks like.
| | 00:21 | This parent thing is not needed.
| | 00:22 | It's kind of redundant, so I
am going to delete that out.
| | 00:25 | This says, 'go to the Transform1 node
and take the Rotate parameter as the link.'
| | 00:33 | But you don't have to drag-
and-drop to create links.
| | 00:35 | You can also just type them in, like this.
| | 00:37 | I want to link to the Transform node,
so the first thing I enter is the name of
| | 00:43 | the node, Transform1.
| | 00:48 | Then a period, followed by
the parameter, rotate. There.
| | 00:54 | I now have a Result, 40.
| | 00:56 | Note, that the behavior of Nuke is if
your mathematical expression is incorrect,
| | 01:01 | you get an error message.
| | 01:02 | You will not get a valid result
until you've entered a valid expression.
| | 01:07 | So, we will say OK, and now just to
prove that I didn't break it, I am going to
| | 01:12 | adjust my Rotate slider and you can
see that the Blur still moves with it.
| | 01:17 | One other thing you should know about
typing in these parameter names is some
| | 01:21 | parameters, like Translate, have two
part: Translate x, Translate y. So, let's
| | 01:26 | see how we would talk to those.
| | 01:30 | The Edit Expression QuickKey is the
Equal sign, so from now on we are going to
| | 01:34 | be using the Equal sign to
open up our Expression window.
| | 01:39 | If I want to talk to the
Translate, I would type 'Translate.'
| | 01:44 | Now the default is if there are two, like
here, x and y, if you don't specify, you
| | 01:50 | will always get the one on the left,
| | 01:52 | in this case, Translate x.
| | 01:55 | I have a valid Result of 20, so
I know I have a valid expression.
| | 01:57 | I will click OK, so the Translate x
is now driving the Blur size, and if I
| | 02:03 | increment Translate x, you can
see the Blur size is going up.
| | 02:07 | If I go to Translate y, it
has no effect on the Blur size.
| | 02:11 | We will try another one.
| | 02:15 | Select the Blur size.
| | 02:16 | This time, I am going to hit the Equal sign.
| | 02:17 | That's the Quick Key, and I am
going to say translate.y. This means,
| | 02:22 | specifically, to go to the y field.
| | 02:24 | I could also say, specifically, x. I
could also type in the .x, but that's the
| | 02:31 | same as the default.
| | 02:32 | So, we'll go to the y. I will say OK
and now as I change the Translate y
| | 02:37 | parameter, you can see
my Blur size is changing.
| | 02:42 | So, the link is an expression, but
we can add more expressions to them.
| | 02:46 | So, we will select our Blur, press Equals.
| | 02:48 | I am going to go back to
having it controlled by Rotate.
| | 02:52 | Now let's say I want the Blur to be one-
half of the Rotate, so I could say take
| | 03:00 | that Transform Rotate value and divide it by
two and use that as my Blur. I will say OK.
| | 03:07 | Now a rotate of 4 has given me a Blur size of 2.
| | 03:11 | The rotate of 10, will give me a blur of 5.
| | 03:15 | We can get even trickier.
| | 03:19 | Select the Blur size, press Equal and I
will +10, so I want to Blur to be half
| | 03:27 | of the rotate, plus 10.
| | 03:30 | I have a valid result, so I must have
a valid expression. Say OK.
| | 03:36 | So, if I set Rotate to 50, my Blur
becomes half of 50, which is 25, plus 10,
| | 03:43 | which is the 35 you see right here.
| | 03:46 | To help you build math expressions,
Nuke also supports a large library of math
| | 03:50 | functions, which we will
see in our very next video.
| | Collapse this transcript |
| Math functions| 00:01 | Nuke contains some 57 mathematical
functions. These are built-in operations that
| | 00:05 | you can use in your Expressions, like
sine, cosine, random, noise, absolute
| | 00:11 | value, power, square root and on and on.
| | 00:14 | Let's take a look at how we might
use a couple of the more common ones to
| | 00:17 | introduce some procedural animation.
| | 00:19 | We will select our Rotate parameter,
hit the Equal sign to enter an Expression
| | 00:25 | and let's do something simple like
we'll do a sine of the frame number.
| | 00:30 | Frame is a reserved Nuke variable.
| | 00:34 | It returns the current Frame
number that the playhead is on.
| | 00:37 | So, what I have said here, since I am
on frame 1 in the Timeline, "Give me the
| | 00:41 | sin of 1," which is 0.841471. I will say OK.
| | 00:46 | Now let's look at that in the Curve Editor.
| | 00:48 | I am going to scale this down,
make this a little more visible.
| | 00:55 | Okay, the sin function returns
values between -1 and +1, and I have
| | 01:01 | attached that to my Rotate.
| | 01:02 | So, let's play this
animation and see what we get.
| | 01:05 | So, we have a very short, only -1
degree and +1 degree, in very rapid animation.
| | 01:10 | Now, let's say I want to slow that down.
| | 01:12 | I will go back to my Expression and I will
take the frame number and divide that by 5.
| | 01:19 | So, I am going to slow down the
frame rate by 5. Look at the curve.
| | 01:25 | The curve now has a much longer wavelength.
| | 01:27 | I will play that. Now we can see
| | 01:31 | it rotates much slower.
| | 01:32 | It's still only -1 to +1
degrees, but now it's a lot slower.
| | 01:36 | We will stop that, because I want
to increase the amount of rotation.
| | 01:42 | So, we will go back to out
Expression and we will say times 10.
| | 01:46 | And now the amplitude of the
swing will become 10 times greater.
| | 01:52 | Watch what happens to the
curve when I click OK. Wow!
| | 02:01 | Now, the animation curve
swings from -10 degrees to +10 degrees.
| | 02:04 | I will go back to the beginning and play that.
| | 02:13 | And now we have a nice,
slow, wide swing in our Rotate.
| | 02:16 | Okay, let's take a look at one
more function, the Random function.
| | 02:22 | Come up to our Rotate parameter, open up
the Expression and we will say random(frame).
| | 02:32 | Now, all random number
generators require a seed.
| | 02:35 | In this case, we are using
the current frame number.
| | 02:37 | That way we get a new seed every frame,
generating a new random number every frame.
| | 02:44 | So, we will click OK and
look what we have got here.
| | 02:46 | We'll zoom in a little bit.
| | 02:49 | Now the Random function
returns a number between 0 and 1.
| | 02:53 | So, my rotation is going to
be just between 0 and 1 degrees.
| | 02:56 | It's also going to be very quick, and of
course, very twitchy, which was the whole idea.
| | 03:02 | All right. So let's start playing with this.
| | 03:05 | Again, I want to slow it down,
so guess what I am going to do.
| | 03:07 | I will go into the frame.
| | 03:09 | If I divide by 5, watch the curve. Boom!
| | 03:13 | Much slower.
| | 03:15 | All right. So, now we have twitchy but slow.
| | 03:19 | Okay. I want to increase the amplitude again.
| | 03:22 | So, we'll go back here and
say, multiply that times 10.
| | 03:27 | Now we'll get ten times the swing, say OK.
| | 03:31 | Look at our curve now.
| | 03:33 | It really popped up. Bring that in.
| | 03:38 | My animation curve now ranges
between 0 and 10 degrees. Play that.
| | 03:43 | Okay, well that's very nice.
The problem is it's kind of crooked.
| | 03:47 | Instead of going between 0 and 10, I
would like it to go between -5 and +5.
| | 03:54 | That would look a little better,
don't you think? We will stop that.
| | 03:57 | Come over here.
| | 03:59 | We will edit the Expression and will say -5.
| | 04:04 | We will say OK, and then we
will move, move it up here.
| | 04:10 | Now, my animation curve ranges
between -5 and +5, so the rotation is now
| | 04:16 | centered in the frame quite nicely.
| | 04:24 | In this movie, we saw how to use
Expressions to link parameters together,
| | 04:28 | as well as mathematical functions and
Expressions to create more complex animations.
| | 04:34 | We saw how to do links within, and
between nodes, to create those dependencies
| | 04:38 | between those parameters, so
one will control the other.
| | 04:43 | And links are the only way that you can
connect tracking data to transforms or
| | 04:48 | control points of shapes and grids.
| | 04:52 | We also saw how to use expressions
and math functions in order to create
| | 04:56 | procedural animations for our composites.
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| Resizing and cropping different formats| 00:01 | As we saw in earlier movies,
Nuke likes to work with formats.
| | 00:04 | In this movie, we're going to take a
much closer look to see how formats affect
| | 00:08 | resizing and cropping images.
| | 00:11 | First, we'll load in some pictures to play with.
| | 00:13 | We'll start with our CheckerBoard node.
| | 00:15 | Okay, and now let's go get a couple of images.
| | 00:18 | We'll go up to the Image tab, select
the Read node, or if you're clever, you can
| | 00:24 | use the QuickKeys, browse to where you
keep your media, go to Lesson_02_Media
| | 00:30 | and this time we'll try something new.
| | 00:33 | Select the first image and then
do a Shift+Click on the next one.
| | 00:37 | That way, you can take multiple images,
and then say Open and they all come in
| | 00:41 | together, all right.
| | 00:43 | Now, we'll hook up the CheckerBoard
to input number one of the viewer by
| | 00:48 | pressing 1 on the keyboard, and the blue
screen to the number two input, and the
| | 00:54 | green screen to the number three input.
| | 00:55 | We don't need these Read nodes so I
am going to clear the Property Bin by
| | 01:00 | clicking on the X, and we'll expand
the Viewer size, so we can devote more
| | 01:06 | screen to our pictures.
| | 01:09 | Put the cursor in the Viewer and
press 1 to switch the viewer input to the
| | 01:13 | CheckerBoard node, and type
F to fit it to the screen.
| | 01:20 | Now let's go to the Project Settings.
Put the cursor in the Node Graph, press
| | 01:24 | the S key and here comes the Project Settings.
| | 01:29 | Remember, this is where Nuke keeps all
the formats, the format list, if you will.
| | 01:35 | The default format and the setup for
this job is PC_video, which is 640x480.
| | 01:40 | We can see the label for the format right
here and we can see the image size right there.
| | 01:46 | The formats contain not only the image
size, but also the pixel aspect ratio.
| | 01:52 | This third number out here,
if there is one, is the pixel aspect ratio.
| | 01:56 | If there is no number out there, then the
pixel aspect ratio is one or square pixels.
| | 02:04 | Another important thing about the Nuke
behavior is how it automatically fits
| | 02:08 | images into the viewer.
| | 02:11 | Right now, we are looking at a 4x3, 640x480.
| | 02:15 | If I switch to input two, I am looking
at a 2K image, but the width is the same.
| | 02:20 | Switch to input three and the width of
the image is still the same, even though
| | 02:25 | it's a different size.
| | 02:26 | So, Nuke always keeps the width constant,
regardless of the size of the image.
| | 02:32 | In addition to the formats, you also need
to be able to manage your bounding boxes.
| | 02:38 | This is what we'll take a
look at in the very next movie.
| | Collapse this transcript |
| Bounding boxes| 00:01 | Now an important aspect of
the formats is the bounding box.
| | 00:04 | This is a cord Nuke concept.
| | 00:07 | To explain that, let's switch to
the third input for the green screen.
| | 00:11 | Select that green screen
and add a Transform node.
| | 00:15 | I am going to take that Transform node and
just give it a bit of a rotation. There.
| | 00:20 | Now, the bounding box is
this dotted line out here.
| | 00:24 | Nuke is telling you that there are
pixels outside of your Format window,
| | 00:28 | if this is an HD image, but there's
pixels out there because of Nuke's
| | 00:32 | infinite workspace.
| | 00:33 | It does not crop the image.
| | 00:35 | But very often, you need to know
and manage these bounding boxes.
| | 00:39 | This number is not the size of the bounding box.
| | 00:43 | This is the upper right-hand coordinate of it.
| | 00:46 | Down here is the lower left-hand
coordinate of the bounding box.
| | 00:50 | Of course, Nuke retains all the
pixels that are inside the bounding box.
| | 00:55 | If we were to write this image out to
disk right now, we would find it was
| | 00:59 | cropped to the HD format.
| | 01:02 | Okay we're done with the
Transform node, so I'll delete that.
| | 01:04 | Now let's talk about reformatting.
| | Collapse this transcript |
| Reformatting images| 00:01 | Nuke actually has a very
structured formatting system.
| | 00:04 | To change the size of an image,
you actually change its format.
| | 00:09 | Put the cursor in the viewer and I am
going to select the Second Input node,
| | 00:13 | which is, of course, the blue screen.
| | 00:16 | Select the Read node, come up to the
Transform tab and we'll pick the Reformat node.
| | 00:25 | The Reformat node is going to change the
format of the input image to whatever you want.
| | 00:29 | The default behavior is to
reformat it to whatever the project is.
| | 00:34 | Okay, as you can see, the 2K
images is now a PC_Video, 640x480.
| | 00:39 | Of course, we can pick any
format we want out of the list.
| | 00:43 | If I wanted to make 1K proxies, for
example, I might pick the Super 35 1K and
| | 00:49 | there you could see the
format and the new image size.
| | 00:53 | So, that's what it means when
you have type set to format,
| | 00:56 | but there are two other choices.
| | 00:58 | We could say the type of
Reformat will be to a box.
| | 01:02 | In this case, I get to
define an arbitrary box size.
| | 01:06 | Nuke's default behavior is to resize the
image to the box that retains the width
| | 01:13 | I put in and it'll automatically
calculate the height for you in order to
| | 01:18 | preserve the Aspect Ratio.
| | 01:20 | If that's not what I want, if I want it
to go into an arbitrary box size, I turn
| | 01:25 | on force this shape and now it's forcing
it to an 800x200 box, which, of course,
| | 01:31 | doesn't look very nice.
| | 01:33 | But let me put in an 800x800
box to show you something else.
| | 01:37 | Here is another interesting
thing about Nuke's basic behavior.
| | 01:42 | This dotted line, of course, is the
bounding box, or the edge of the pixels, for
| | 01:46 | the image, but my image size
is really 800x800, way out here.
| | 01:51 | Nuke's behavior is if your pixels are
inside, or the bounding box is inside, the
| | 01:58 | Image format, Nuke will streak the
edge pixels like this and down here as a
| | 02:04 | visual clue to let you know, "Hey your
pixels are smaller than your image format."
| | 02:10 | Now, we can turn that off if we want to.
| | 02:12 | I am going to select the blue screen
node, come up to the Transform tab and add
| | 02:17 | a BlackOutsite node and the BlackOutsite
node will lay a black edge on all sides
| | 02:25 | of the image, so that now when it
streaks out, it gets black and you will
| | 02:29 | sometimes want to do this.
| | 02:30 | So, just so you know,
| | 02:32 | you can get rid of the streakies, if you want to.
| | 02:33 | I am going to delete the
BlackOutside node and return to our story.
| | 02:40 | The third type of reformat is to a scale.
| | 02:44 | This is what you use if you want to
set it to a particular scale factor, like
| | 02:48 | 0.5, or perhaps you would like it to be two times
larger, and now you can see we have a 4096x3112.
| | 02:59 | All right. I am going to put the scale back to
default, by doing a Command+Click on the
| | 03:04 | slider bar to restore it to default
to tell you about the resize type.
| | 03:09 | This is used when there is a mismatch
between the aspect ratio of your source
| | 03:13 | image and your new reformat.
| | 03:15 | To see how this works, we'll switch to
the green screen, so put your cursor in
| | 03:19 | the viewer and press 3 on the keyboard.
| | 03:22 | To reformat, I've cleared the Properties
Bin. We'll select the green screen Read
| | 03:27 | node, come to the Transform tab
and we'll add a Reformat node.
| | 03:31 | Now the default format is, of course,
whatever the project is, which is our 640x480.
| | 03:38 | You can see PC_Video down here.
| | 03:41 | The problem is the aspect ratio of the
green screen is 16x9 high def, and our
| | 03:47 | new format is 4X3, so they don't fit.
| | 03:52 | So, that's what the Resize type option is for.
| | 03:54 | So, you can control how the original
image is resized to fit into the new format.
| | 03:59 | The default is width.
| | 04:01 | That means to just scale down the
original image till it fits within the width
| | 04:06 | of the new format and let
the pixels fall where they may.
| | 04:10 | In all cases, it's trying to preserve
the aspect ratio of the original image.
| | 04:13 | So, you can see the
streakies out here and out there.
| | 04:16 | If we put black, this
would be a letterbox format.
| | 04:19 | Another resize type is height.
| | 04:20 | So, we're going to push in until the
height of the source image fits into the
| | 04:25 | height of the destination format.
| | 04:29 | And of course, this crops off the edges of
the high def video picture, here and here.
| | 04:34 | The fit option means to fit side-to-side, which,
of course, is the same as the width option.
| | 04:42 | The fill option is to fill top to bottom, which,
of course, is the same as the height option.
| | 04:48 | Those are just different
words for the same function.
| | 04:51 | If you come from video,
you're used to fit and fill.
| | 04:54 | The last option is distort.
| | 04:57 | That means to squeeze the source image
into the new format. Of course, you are
| | 05:01 | going to distort the image when you do that.
| | 05:04 | The one we haven't talked about is
none, which is, of course, to do no
| | 05:07 | reformatting and that means you
are just simply cropping a window.
| | 05:11 | If you were to render this to disk, you
would now find this cropped image, right
| | 05:15 | out of middle of your high depth video.
| | 05:19 | The next feature is center.
| | 05:20 | To show you that I am going to
set the resize type to height.
| | 05:24 | Center means to crop the
center out of the picture.
| | 05:27 | If I turn that off, it's going to
crop it from 0,0 the origin, the
| | 05:32 | lower left-hand corner.
| | 05:34 | If you turn center on that, means
crop it from the center of the image.
| | 05:38 | The flip button flips it vertically,
the flop button flops it horizontally and
| | 05:44 | turn rotates at 90 degrees and this is what
you would use if you had a Vista vision
| | 05:49 | image, and so we are going to turn that one off.
| | 05:54 | When you reformat an image to a new
format that does not match the aspect ratio,
| | 05:58 | you are going to want to select the
portion of the screen you're seeing.
| | 06:02 | Remember, we have lost
picture over here and over here.
| | 06:05 | To do that, we'll simply add a
Transform node, and then we'll slide our picture
| | 06:11 | over so we get the piece of it that we want.
| | 06:13 | We are done with the Transform
node, so I am going to delete that.
| | 06:19 | Sometimes, you want to crop an
image rather than just reformat it.
| | 06:23 | For that, we'll need to look at the next movie.
| | Collapse this transcript |
| Cropping images| 00:01 | Now let's take a look at the Crop node.
| | 00:03 | To do that, we'll switch over to
the blue screen, input number 2.
| | 00:08 | I'll delete the Reformat node.
| | 00:13 | With the blue screen image selected, come
to the Transform tab and come down to Crop.
| | 00:19 | Crop has a couple of oddnesses about
it that we need to be familiar with.
| | 00:24 | To crop an image, you simply drag the
edges in, to crop out the portion of the
| | 00:37 | image that you want, very straightforward.
| | 00:39 | The thing that might surprise you is, at
this point, all we've really done is to
| | 00:44 | mask the image with black.
| | 00:46 | It has not been cropped to a new size.
| | 00:48 | The image size is still 2K_Super_35.
| | 00:53 | This number is not the size of the new image.
| | 00:57 | This number is the coordinate
of the upper right-hand corner.
| | 01:00 | And there is a coordinate
for the lower left-hand corner.
| | 01:02 | We can't see it, unless I
turn the Viewer gamma up.
| | 01:06 | Okay, now you can see that number.
| | 01:08 | We'll put the Viewer gamma back to normal.
| | 01:12 | The only way you'll know the actual
size of your crop is if you come up to the
| | 01:16 | Crop node and enable Reformat.
| | 01:19 | So, my new image is 1260x790.
| | 01:23 | Now, there is no black outside.
| | 01:26 | This is the new image and if I render
this to disk, this is exactly what I'll get.
| | 01:32 | So, unless you turn on Reformat, you have not
actually cropped the image to a new image size.
| | 01:37 | That's the important part to remember.
| | 01:39 | The odd thing about this is if we go
and check the Project Settings, I'll open
| | 01:45 | the format list and Nuke has not added
this 1260x790 to the format list, and I
| | 01:51 | would've thought it did, but it doesn't.
So, the thing to remember about Nuke is
| | 01:58 | Nuke works with formats, not
just arbitrary image sizes.
| | 02:03 | By requiring you to use formats, this
protects you from misfitting images together.
| | 02:09 | You'll also have to remember to manage
your bounding boxes, and with the Crop
| | 02:13 | node, the crop does not actually
crop the image until you enable that
| | 02:17 | Reformat button.
| | Collapse this transcript |
| The Merge node| 00:01 | The Merge node is Nuke's all-
encompassing image blending node.
| | 00:05 | It contains many different image blending
operations, including the classic Over operation.
| | 00:11 | So, let's see how it works.
| | 00:12 | First we need a couple of pictures, so
we come up here to our Read node, browse
| | 00:18 | to where you keep your Media, go to
Lesson_02_Media, select the card_AA and the
| | 00:24 | BB with a shift click and
click on Open. We bring them in.
| | 00:31 | Selecting the A card, I'll hit one on
the keyboard to connect it to the Viewer
| | 00:35 | and the B card, connect that one to the Viewer.
| | 00:39 | Cursor in the Viewer, we can type one-
two-one-two to bounce between the two.
| | 00:42 | I'll select input 1 and we will show
you the alpha channel, so these are our four
| | 00:47 | channel images. Switch to input 2.
Look at the alpha channel there.
| | 00:52 | Now let's see how to connect a Merge node.
| | 00:55 | I'm going to disconnect the B input here.
| | 00:58 | We have the A node connected to the Viewer.
| | 01:01 | So, the A node is now lit up. We'll
come to the Merge tab and pop that up and
| | 01:07 | come down to the Merge node.
| | 01:09 | Now, the Merge node is one
of those real common nodes
| | 01:11 | that's so important it has its own custom
key, M. So, let's be big kids and we'll use that.
| | 01:19 | So, selecting the A node, we'll type M on
the keyboard and you'll notice that the
| | 01:23 | Merge node has connected the A side.
| | 01:26 | With the Merge node, the A is the
foreground and the B is the background.
| | 01:30 | So, we'll just connect the B card
to the B input of the Merge node.
| | 01:38 | Notice the Merge node says over.
The over operation is the default operation.
| | 01:44 | We'll come up to the Merge node itself
and you could see the operation right
| | 01:47 | here is set for over.
| | 01:49 | The pop-up here shows you all the
possible operations and this is the one that we
| | 01:53 | have here for the default.
| | 01:54 | Now let's take a look at some of the other
operations that require the alpha channel.
| | 02:00 | So, of course, we have the over operation.
| | 02:03 | We have the under A, under B, so that's
the way you read this is A under B and
| | 02:08 | there the under has shown up.
| | 02:11 | Back to the pop-up. Here's A in B.
Here's A out of B. Here's A masked with B.
| | 02:24 | Here's A stenciled with B.
And we'll go back to the over operation.
| | 02:32 | Now with the over node, the order of
the inputs matters. We have A over B.
| | 02:39 | You'll recall with Shift+X, we can swap the
inputs, so I'll select the Merge node,
| | 02:43 | Shift+X. I now have B over A. So, don't
forget, for compositing operations, the
| | 02:51 | input order is very important.
| | 02:53 | Now, you may have noticed here's this
little input guy over here on the left of
| | 02:57 | the Merge node, says A2.
| | 03:00 | What that's about is you can have as
many inputs on the A side as you wish.
| | 03:05 | So, let's take a look at that.
| | 03:06 | We'll scooch this over, zoom out.
| | 03:10 | Let's go to the Read node.
| | 03:14 | We'll turn off Sequences, so
that we can see card_A2 and A3.
| | 03:19 | Select A2, Shift+Click
A3 and open both of those.
| | 03:23 | So, we'll come to the arrow on the left side of
the Merge node, we drag that out. It says A2.
| | 03:31 | I'm going to connect that to my A2 card
and another arrow pops up and that says A3.
| | 03:36 | I'll connect that to the A3 card.
| | 03:38 | Another arrow pops up and we can
just keep doing this all day long.
| | 03:41 | So, you can hook as many inputs to the
A side as you wish and the rule is A3
| | 03:49 | goes on top of A2, goes on top of A1,
goes on top of the background. All right.
| | 03:56 | Let's get rid of those multiple inputs here.
| | 04:02 | So, these are the Merge node operations
that require an alpha channel or a Matte.
| | 04:06 | In the next movie, we'll see image
blending operations that do not require a Matte.
| | Collapse this transcript |
| Image blending operations| 00:00 | Now let's take a look at some operations
that do not require any alpha channels.
| | 00:07 | The most common one, of course,
would be the screen operation.
| | 00:10 | So, A is now screened with B. Or you
might want the multiply operation.
| | 00:17 | Another very common one is the add.
Well, in Nuke, plus is the add operation.
| | 00:24 | So, think of this as A plus B.
| | 00:28 | One of the problems in compositing
is you might have concept art that was
| | 00:31 | developed on Photoshop, and they might
be using image blending operations like
| | 00:35 | overlay or hard-light that the
compositing program doesn't have and then that
| | 00:40 | makes it very difficult
for you to match the artwork.
| | 00:43 | Not to worry, Nuke has several
of the most important Photoshop
| | 00:46 | blending operations.
| | 00:48 | We have overlay, we have hard-light and
we have soft-light, to name about a few.
| | 00:57 | We'll go back to the over operation.
| | 01:01 | Let's take a look at the mix slider down here.
| | 01:06 | The mix slider is a mix
back to the original input.
| | 01:11 | With mix set to 1, you're seeing
100% of the merge operation.
| | 01:16 | As I slide the mix value closer to zero,
you're getting only the B side input.
| | 01:24 | Nuke has a prejudice towards the B side
input of multilayered Nodes. Think of it
| | 01:29 | as the B side being the pass-through
and the A side's being merged with it.
| | 01:36 | So, the way to think of the mix
node here is with a mix of zero,
| | 01:39 | I'm getting 0% of the merge
operation and now I'm getting 100%
| | 01:45 | of the merge operation.
| | 01:48 | This mask operation we're going to
look at later in another movie that's
| | 01:51 | devoted just to masking.
| | 01:53 | In this movie, we took a look at the
compositing operations of the merge node
| | 01:57 | that required an alpha channel, as well
as those image blending operations that
| | 02:01 | just require the RGB channels.
| | 02:04 | And we also saw how the merge
node contains some key Photoshop
| | 02:08 | support operations.
| | Collapse this transcript |
|
|
3. Working with ColorColor management in Nuke| 00:01 | In this video, we'll take a
look at Nuke's color management.
| | 00:04 | In this first section, let's take a
quick overview of the color management
| | 00:08 | features and there are three main
features. One, Nuke works in 32 bit float,
| | 00:15 | two, Nuke works with High Dynamic Range,
images, and three, everything is
| | 00:20 | done in linear light space.
| | 00:24 | All of the pictures that you see in
these videos are included in the project
| | 00:27 | media folder, which you can
download so you can play along too.
| | 00:31 | Let's take a look at the 32 bit float.
| | 00:35 | I have this 8 bit TIFF image here in the Viewer.
| | 00:38 | As I rub the cursor over the
Viewer, you can see the floating point
| | 00:41 | precision RGB values down here at the
bottom and you could see the amazing
| | 00:46 | precision of the Viewers.
| | 00:47 | But I want to demonstrate how the 32
bit floating point protects all of the
| | 00:51 | images from any damage in image
processing, in order to maintain the highest
| | 00:56 | possible quality feature film effects.
| | 01:00 | I'm going to select the Marcie Input node,
come up to the Color tab and add a Multiply node.
| | 01:06 | I'm going to scale the Marcie RGB values
down by 1/1000th, .001 and of course,
| | 01:13 | the Viewer goes nearly black.
| | 01:15 | I still got some pixels in there.
You can see down here at the bottom of the
| | 01:18 | Viewer that I've still got some
code values, but they're mighty tiny.
| | 01:22 | I'm even going to add a Blur node
in order to break up any possible
| | 01:26 | concatenation of operations.
| | 01:29 | Selecting the Blur node, I'll add
another Multiply node and this time I'm going
| | 01:33 | to scale Marcie up by 1000 and she's back.
| | 01:38 | In fact, I can connect the original
Marcie here to the second input of the
| | 01:42 | Viewer and as I bounce between the two
inputs, you can see there's absolutely no
| | 01:46 | degradation to the picture, even though
it was scaled down by a factor of 1000
| | 01:51 | and then scaled back up.
| | 01:53 | Next, we'll take a look at
High Dynamic Range images.
| | 01:57 | Here's an EXR file. As many of you know,
these are very High Dynamic Range images.
| | 02:02 | In fact, you can see there are
code values in here that are over 100.
| | 02:05 | Now they look clipped in the Viewer,
but that's because the Viewer can only
| | 02:10 | display code values between zero
and 1.0. Nuke goes far beyond 1.0.
| | 02:16 | I'm going to scale down the Viewer again.
In fact, I'm going to take it down even smaller.
| | 02:22 | I'm going to inch it way down like
that and you can see there's still color
| | 02:27 | information in that picture.
| | 02:29 | Look at those code values. 50, 126 and 100.
| | 02:32 | I'll put the Viewer back and
re-home it so we can take a look at this
| | 02:38 | 10 bit log Cineon image.
| | 02:41 | Cineon images are also
High Dynamic Range images.
| | 02:44 | Instead of being floating point,
they're 10 bit integer log images, but when
| | 02:50 | they come into Nuke and are converted
to linear light space, they expand up to
| | 02:54 | their full dynamic range
with no loss of quality.
| | 02:57 | Now again, the fire looks clipped in
the Viewer, but you can see in here there
| | 03:01 | are code values way over one.
| | 03:03 | In fact, we can zoom in here and
again I'm going to turn the Viewer
| | 03:07 | again down and now we can see the very high
code values in the 10 bit Cineon log image.
| | 03:13 | I'll re-home the Viewer and reset
the Viewer again back to normal.
| | 03:17 | So, what is this linear light space?
| | 03:20 | Linear light space means that the code
values of the pixels represent actual
| | 03:24 | scene illumination, not
brightness relative to the eye.
| | 03:29 | Nuke uses linear light space for
three very important reasons. One, proper
| | 03:34 | image processing math. When you are
scaling or multiplying RGB values or
| | 03:39 | multiplying two images together, if they're not
in linear light space, the math comes out wrong.
| | 03:45 | Two, compatibility with chi. Cgi is
rendered in linear light space, but when it's
| | 03:53 | written to disk, it gets
converted to other color spaces.
| | 03:57 | Since Nuke has 3D rendering capabilities,
it must be able to render cgi the same
| | 04:02 | way that RenderMan or Maya does
and that's in linear light space.
| | 04:06 | The third reason is for mixing image types.
| | 04:09 | You'll notice that I had an 8 bit
linear TIFF, an EXR High Dynamic Range image,
| | 04:16 | and a 10 bit log Cineon file.
| | 04:19 | These three images are in completely
different color spaces, but when they're
| | 04:23 | brought into Nuke, they're all
converted to linear light space, so they're all
| | 04:28 | totally compatible with each
other and could be mixed perfectly.
| | 04:33 | In our next movie, we'll see why it's
essential that almost every image we bring
| | 04:37 | into Nuke has to be converted to linear
light space and we'll also take a look at
| | 04:41 | Nuke's color management workflow.
| | Collapse this transcript |
| Color management workflow| 00:01 | In this movie, we're going to take a
look at why it's very important to convert
| | 00:04 | all incoming images to linear light space
and we'll also take a look at the color
| | 00:09 | management workflow within Nuke.
| | 00:11 | Earlier, we heard that images need
to be in linear light space for the
| | 00:15 | mathematics to come out
right of the image processing.
| | 00:18 | So, why do we have to convert all the
images that we load into Nuke into
| | 00:22 | linear light space?
Aren't they already linear?
| | 00:24 | Well, the answer is no.
| | 00:26 | Most images are not truly linear. Most
of them have a baked in gamma correction
| | 00:32 | and they're really a
gamma-corrected linear image.
| | 00:35 | This illustration will show you what's going on.
| | 00:38 | Let's start here with picture
number 1 and let's say that this is the
| | 00:41 | display intent here.
| | 00:42 | This is what the picture
should look like on your monitor.
| | 00:45 | If you were to put that image data on a
CRT, the gamma of the CRT is shown here
| | 00:51 | by this curve, the gamma is a
darkening effect that the CRT has because it's
| | 00:56 | not a linear display device and it will
darken the image down like you see here in image 2.
| | 01:02 | So, what's done universally is a gamma
correction is applied to the image like this,
| | 01:08 | which compensates for the monitor,
making the image brighter like this.
| | 01:14 | So, the image is pre-brightened by a
gamma correction to exactly offset the
| | 01:18 | darkening that the monitor's going to do.
| | 01:20 | The result is over here image 4, the
monitor display, and we wind up with a
| | 01:25 | reasonably linear looking image.
| | 01:28 | So, as you can see, so-called linear
images are really gamma-corrected linear
| | 01:33 | images and have the gamma
correction baked into the pixel data.
| | 01:38 | So, Nuke has to back that out to
convert them into a true linear light space.
| | 01:42 | Now you might be thinking "why I work with a
flat panel display, so I don't have CRT gamma."
| | 01:47 | Well, the problem is that industry
standards are all flat panel displays, even
| | 01:54 | though they don't really have a
gamma problem like a CRT does,
| | 01:58 | this gamma is built into the display so
that it will replicate the behavior of a CRT.
| | 02:05 | This is done so the images will look
the same whether they're on a CRT or a
| | 02:09 | flat panel display.
| | 02:10 | So, even though you're using a flat
panel display, your pictures are still being
| | 02:14 | darkened by this gamma curve.
| | 02:18 | We can get an overview of the entire Nuke
color management workflow with this flow graph.
| | 02:24 | Starting here on the left, the Read
node linearizes the images, converting them
| | 02:28 | all to linear light space by
applying a gamma correction LUT to it here.
| | 02:34 | Then all of the images being in linear
light space, they're correctly composited,
| | 02:38 | the math is done right and
everything is mathematically correct.
| | 02:42 | When the linear image is set up to the
Viewer, there is a LUT applied to the
| | 02:46 | Viewer in order to make it
look right on your monitor.
| | 02:49 | When you're done with the composite,
the linear image is sent to the Write node
| | 02:52 | and the Write node applies a gamma
correction to it just as it's written out to disk.
| | 02:57 | This is done so that the gamma
corrected image will look right on the next
| | 03:01 | monitor or workstation.
| | 03:03 | Now let's go back and take a close-up
look at this Read node action right here.
| | 03:08 | Here are three Read nodes.
| | 03:11 | If I open up the Marcie.tiff file,
this is an 8 bit tiff image.
| | 03:16 | Notice that Nuke has detected the color
space as an 8 bit TIFF and has applied
| | 03:20 | an sRGB gamma correction to it to linearize it.
| | 03:25 | If I select this EXR image, Nuke has
detected that and has applied a linear
| | 03:31 | color space correction to it.
| | 03:32 | In other words, there's
been no change to that image.
| | 03:36 | And if I select the Cineon image, Nuke
has detected that and applies the Cineon
| | 03:41 | LUT in order to linearize that image.
| | 03:44 | So, the Read node detects what type
of image it is and converts everything
| | 03:48 | to linear light space.
| | 03:49 | Of course, you don't have to accept
the default LUT that Nuke assigns.
| | 03:53 | You can use this pop-up and
select any other LUT you want.
| | 03:58 | And we'll see shortly
where LUTs are defined in Nuke.
| | 04:00 | Now let's take a look at
the Viewer and the Viewer LUT.
| | 04:04 | I'm going to expand the Viewer to
fill the whole frame again and here's the
| | 04:08 | Viewer LUT pop-up right here.
| | 04:09 | This is where you select which
LUT will be used in the Viewer.
| | 04:13 | Keep in mind, this correction is
applied only to the Viewer and the original
| | 04:17 | linear image is untouched.
| | 04:19 | sRGB is the default, which is
typical for a workstation monitor, and you get
| | 04:24 | a curve that looks like this.
| | 04:27 | If I turn it off, you can see we're looking
at the linear image and it's way too dark.
| | 04:32 | So, you can see now what this Viewer
LUT is doing to brighten the image up.
| | 04:38 | Remember, earlier we talked about
brightening the image up with a gamma
| | 04:41 | correction so it look right
on the monitor. There it is.
| | 04:45 | You could also choose the rec709 LUT,
which would give you a rough approximation
| | 04:49 | of a broadcast monitor.
| | 04:51 | If you want to connect a real
broadcast monitor to Nuke, it'll require a
| | 04:55 | special video card.
| | 04:57 | Setting the Viewer back to its normal
size, we'll take a look at the Write nodes.
| | 05:03 | To show you how the Write node works I'm
going to clear the Properties bin first.
| | 05:07 | So, we start with the Marcie 8 bit tiff image.
| | 05:10 | We do all of our compositing operations
in linear space, and now in the Write node
| | 05:14 | we are getting ready to write it out to disk.
| | 05:17 | Nuke will decide what kind of color
space LUT to use depending on the type of
| | 05:21 | file name that you use.
| | 05:23 | So, let's say I'm going to write
Marcie out as a TIFF image, so I'll type
| | 05:29 | marcie.tiff and I'll say save and look
what Nuke has done. Saiid file type is TIFF.
| | 05:37 | It looked at this extension.
| | 05:38 | It said the file type is TIFF, the data type
is 8 bit, so the color space gamma correction
| | 05:45 | it's going to use is the sRGB and of
course, you can change that if you wish.
| | 05:52 | If I had said that this is going to be a
Cineon image, it would say file type is
| | 05:58 | Cineon again, looking at the extension.
| | 06:00 | It would say the file type is Cineon
and the color space correction LUT
| | 06:04 | it would get is the Cineon.
| | 06:06 | If I said that this was going to be an
EXR image and Nuke would detect that with
| | 06:10 | the file type and would use a linear LUT.
| | 06:14 | So, Nuke looks at the file name
extension you apply to your files in order to
| | 06:18 | determine what the output LUT should be.
| | 06:22 | So, to summarize Nukes' color
management workflow, we'll expand the Viewer to
| | 06:25 | fill the frame, the Read node backs
out all baked in gamma corrections to
| | 06:30 | restore the image to a true linear light space.
| | 06:33 | Nuke performs all of its computations
on the linear light version, the linear
| | 06:38 | version goes to the Viewer where it
gets a Viewer LUT to make it look nice and
| | 06:42 | then the linear light version goes to
the Write node, which assigns a gamma
| | 06:46 | correction just as it writes it out to disk.
| | 06:50 | In our next movie, we'll take a look
at the LUTs that Nuke uses for all of
| | 06:54 | its color management.
| | Collapse this transcript |
| Using LUTs| 00:01 | In this movie, will see how Nuke uses
its LUTs to do the linear light space
| | 00:05 | control for the Read node,
the Write node and the Viewer.
| | 00:10 | Now that we've seen the complete
workflow for Nuke's color management,
| | 00:13 | let's take a look at where the LUTs live.
| | 00:15 | Now the term LUT actually is an acronym,
LUT, which stands for lookup table.
| | 00:21 | For those of you who have never worked with
a lookup table before, let's take a quick look.
| | 00:25 | We'll select Marcie, go up to the
Color tab, and add the ColorLookup node.
| | 00:31 | The ColorLookup node is actually a lookup table.
| | 00:36 | I'll select the master
curve and show you how it works.
| | 00:39 | The incoming code values come
along this line down here, on this edge.
| | 00:44 | They go up meet the curve and come out
on this edge over here, so this is the
| | 00:49 | input code value side and
this is the output code value.
| | 00:53 | If I make a change in the curve
like I take 0.5 up here to 0.8,
| | 00:59 | now code value 0.5 will come up to
the curve and come out as code value 0.8.
| | 01:04 | Likewise 0.1 will come out as 0.2
and 0.9 would come out as let's say 0.98.
| | 01:14 | All right, we'll get rid off the ColorLookup
node and take a look at the LUTs in Nuke.
| | 01:18 | Put your cursor in the Node Graph and hit
the S key to bring up the Project Settings.
| | 01:24 | The Project Settings have four tabs.
| | 01:26 | We want the LUT tab and this is
where all of the LUTs live in Nuke.
| | 01:31 | The linear LUT does not
convert anything to linear.
| | 01:36 | It's a no change LUT.
| | 01:38 | Some people call it an identity LUT.
| | 01:40 | Others call it a unity LUT.
| | 01:42 | So, if code value (0.5) comes in,
(0.5) goes out and the image is
| | 01:46 | completely unchanged.
| | 01:49 | Here is the sRGB LUT. In fact, I'm
going to add the linear LUT to the display
| | 01:53 | so we can see them both together.
| | 01:55 | Remember the incoming images have a
gamma correction that curves like this.
| | 02:00 | The sRGB gamma curve curves in exactly
the opposite direction resulting in the
| | 02:05 | linear image that Nuke uses
for all of its compositing.
| | 02:09 | So, the sRGB LUT backs out the baked in gamma.
| | 02:13 | Now some images might come in as a rec709
| | 02:16 | and we would use this curve.
| | 02:17 | The Cineon LUT is used to convert 10
bit log Cineon or DPX images to linear.
| | 02:24 | The Panalog converts
Panavision log images to linear.
| | 02:29 | REDLog converts RED camera log images to linear.
| | 02:32 | ViperLog converts the Viper log and REDSpace
is a LUT provided by the RED Camera Company.
| | 02:39 | The next item of interest on the LUT tab
is down here, the Default LUT Settings.
| | 02:44 | So up here is a list of all the LUTs
in Nuke, but down here is where Nuke
| | 02:48 | assigns where they are used.
| | 02:51 | The default monitor LUT affects postage
stamps, OpenGL, and non-Viewer displays,
| | 02:57 | such as this postage stamp right here.
| | 02:59 | I'm going to zoom into the Marcie
postage stamp. Right now it's getting the sRGB
| | 03:05 | LUT same as the Viewer. So the Marcie in
the Viewer and the Marcie in the postage
| | 03:10 | stamp look the same.
| | 03:12 | But if I go to the monitor LUT and say,
for example, set it to linear, you see
| | 03:16 | the postage stamp turned dark.
| | 03:18 | We will put that back to the default sRGB.
| | 03:23 | The rest of these default LUT settings
are used by the Read and Write nodes so
| | 03:27 | when the Read node sees an 8-bit file,
such as the Marcie TIFF file, it's going
| | 03:32 | to use the sRGB LUT.
Or in a Write node,
| | 03:35 | if you're writing out a log file,
it's going to use the Cineon LUT.
| | 03:40 | If you read or write a 16-bit file,
it's going to get the sRGB LUT unless you
| | 03:45 | set it to something else.
Put that back.
| | 03:50 | If you read or write a log file be that
Cineon or DPX, Nuke is going to use the
| | 03:55 | Cineon LUT and if you read or write
float files, Nuke is going to use the linear
| | 04:00 | LUT and you will recall that is the no
change LUT because linear EXR files are
| | 04:06 | already in linear light space.
| | 04:09 | The last thing we want to talk about
here on the LUT tab of the Project Settings
| | 04:13 | is how to create your own
custom LUT, which is very easy to do.
| | 04:18 | First, you select the little plus sign,
which says I want to add a LUT.
| | 04:22 | Now you give it your name.
We'll call it My LUT, say OK.
| | 04:27 | It's now been added to the list.
| | 04:29 | This is your LUT curve. Select it.
| | 04:31 | Add a control point.
| | 04:34 | Make some changes in it. There.
| | 04:38 | Now I've created my own custom LUT and
every Read and Write node in Nuke will use it.
| | 04:43 | For example, I'll come down to the 8-
bit files, which you recall, that's what
| | 04:48 | this Read node is using here because
the Marcie is an 8-bit tiff, pop this up
| | 04:52 | and there is my LUT.
Watch Marcie change when I select it.
| | 04:56 | Bang, okay. So that's really ugly so
let's put that back to the default sRGB,
| | 05:02 | which is much better than My LUT, and
when you save the Nuke script, your new
| | 05:07 | LUT is saved with it.
| | 05:09 | In our next movie, we'll see how
linear light space affects working with
| | 05:13 | pre-multiplied CGI images.
| | Collapse this transcript |
| Working with pre-multiplied CGI images| 00:01 | In this movie, we'll see how Nuke's
linear light space affects working with
| | 00:05 | pre-multiplied CGI images.
| | 00:08 | Because of the color space conversions
in all Read and Write nodes in Nuke,
| | 00:12 | there's a special consideration
whenever you're working with pre-multiplied CGI
| | 00:16 | images like this jet here.
| | 00:18 | Okay, we'll zoom in on this guy and
I'll show you he is a four-channel CGI,
| | 00:24 | premultiplied image and now we take a look at
the composite and I'll open up the Read node.
| | 00:33 | The Read node has this additional
option right here, premultiplied.
| | 00:38 | As you know, any color corrections or
color space conversions on a premultiplied image,
| | 00:43 | it must first be un-premultiplied
before the operation and then
| | 00:48 | remultiplied or premultiplied afterwards.
| | 00:52 | With this button, you're telling Nuke
this is a premultiplied image in the Read
| | 00:57 | node and it must be unpremultiplied
before the color space conversion.
| | 01:01 | So, I'm going to turn it on and look at
the huge effect it has on the composite.
| | 01:08 | If you fail to enable the premultiplied
feature, your composite edges will be too dark.
| | 01:15 | We have the same exact setup in the Write node.
| | 01:17 | I'll come over to the Images tab and
I'm going to add a Write node off to the
| | 01:22 | side here and right here.
colorspace, default, premultiplied.
| | 01:28 | You would not turn that on for the
finished composite. However, if you were
| | 01:34 | rendering out a four channel
premultiplied image like, if this was what
| | 01:38 | you're writing to disc, you'd
definitely want to turn that on. If you don't,
| | 01:43 | the rendered image to disc will have dark edges
when the next guy gets it at his workstation.
| | 01:49 | So, heads up when working
with premultiplied CGI with Nuke.
| | 01:55 | In our next movie, we'll look at
Viewer processes, where you can apply
| | 01:59 | preprocessing operations to any
image before sending it up to the Viewer.
| | Collapse this transcript |
| Preprocessing images for the viewer| 00:00 | In this movie, we're going to take a
look at the two methods of preprocessing
| | 00:04 | images for the Viewer, the input
process and the viewer process.
| | 00:10 | Nuke has viewer processes, which allow
you to put preprocessing operations on
| | 00:15 | your linear images before
they are displayed in the Viewer.
| | 00:18 | The point is the original data is untouched.
| | 00:21 | It's just a Viewer presentation thing.
| | 00:24 | This is usually used to apply a LUT to
an image, but as we'll see, you can do
| | 00:28 | much more than that.
| | 00:30 | Now there're two types of these viewer
processes, an input process and a viewer process.
| | 00:37 | We'll look at the input process first,
because it's quick and easy to do.
| | 00:42 | We'll start by adding a ColorLookup
node to Marcie. Select Marcie, go to the
| | 00:47 | Color tab and add a ColorLookup node.
| | 00:54 | Let's say I'd like to adjust her
appearance by editing this curve to look
| | 00:58 | like that, all right.
| | 00:59 | I connected the lookup curve to Marcie so
I can see the effect on her, but to use it
| | 01:05 | as an input process, it must be disconnected.
| | 01:08 | This is very important.
| | 01:11 | Now there are two ways you can tell
Nuke to use this as an input process.
| | 01:15 | The first method is simply
rename the node, VIEWER_INPUT.
| | 01:26 | When Nuke sees the node named VIEWER
_INPUT, all caps case-sensitive here,
| | 01:31 | suddenly the IP, input
process, button is now active.
| | 01:36 | Again, it must not be
connected to anything else.
| | 01:39 | It's a free-floating node.
| | 01:42 | To look at the second method, we'll put
the name back to ColorLookup and now
| | 01:46 | you can see it doesn't see it at all,
as I toggle the IP button on and off.
| | 01:52 | So, the second method is select the node,
go up to the Edit menu, down to Node,
| | 01:59 | and select Use as Input Process.
And now toggling it on and off,
| | 02:05 | you can see it's active again.
| | 02:08 | The advantage to using the VIEWER_INPUT
name is you can tell which node it is.
| | 02:13 | If you use this method, you won't
really know which node in your flow graph
| | 02:17 | is the Viewer input.
| | 02:19 | So, the input process that we just
saw is good for rapid development.
| | 02:23 | It's quick and it's easy.
| | 02:26 | The downside is the node
is easily changed or lost.
| | 02:30 | An artist could edit it or delete it
accidentally and it's also not good for workgroups.
| | 02:35 | For that, we need to take a
look at the viewer process.
| | 02:39 | So, first we'll delete the ColorLookup node.
| | 02:41 | As of Nuke 5.2 the
viewer process was introduced.
| | 02:47 | So, let's see how we can
build our own viewer process.
| | 02:50 | First, I'm going to set the Viewer LUT to None.
| | 02:54 | We're now looking at the raw linear image.
| | 02:58 | I'll zoom out a little bit, make some room.
| | 03:00 | I'll select Marcie.
| | 03:02 | Now the first thing I have to do is
replace that sRGB lookup, so I'll go to the
| | 03:07 | Color tab, get a
Colorspace node and set it for sRGB.
| | 03:14 | Okay, because I want the color space
conversion to happen inside of my viewer process.
| | 03:21 | Next let's add a ColorLookup node,
so we'll go to Color and ColorLookup.
| | 03:27 | So let's say I want to use the ColorLookup
node to give Marcie a much warmer look.
| | 03:31 | So I'll select the blue color channel,
select the curve, and pull some blue out
| | 03:37 | of the picture to warm her up nicely.
And just to make it interesting,
| | 03:41 | let's add one more operation, a Blur node,
and we'll set the Blur to 10, all right.
| | 03:49 | So, these three nodes are going to make
up the custom viewer process that I want
| | 03:53 | to create and I'm going to put it
right here in the Viewer pop-up list.
| | 03:58 | The first step is to select the nodes
and turn them into a group, Command+G.
| | 04:04 | Then we'll export them as a gizmo.
So we'll come up to Export gizmo and
| | 04:09 | I'm going to give it a name.
| | 04:10 | Let us call this Marciesoft.
| | 04:12 | MarcieSoft and of course, we're
observing Nuke naming conventions by starting
| | 04:19 | with a capital letter for a gizmo.
All right so we'll say save that.
| | 04:23 | I now have a gizmo saved called MarcieSoft.
| | 04:27 | The next step is we have to
register the gizmo with Python.
| | 04:31 | The way we do that is we edit the init.py file.
| | 04:36 | I've already entered the line in
here so I'm just going to comment it in.
| | 04:42 | This is the Python command that will
register a gizmo to go into the Viewer LUT list.
| | 04:50 | This field here is the name you'll see
in the po- up in the Viewer and this
| | 04:56 | field here is the exact name of
the gizmo, keeping in mind that it's
| | 04:59 | case-sensitive. Okay we'll save this to
disc, close that, and now we'll have to
| | 05:06 | restart Nuke before we'll see
it entered in the pop-up list.
| | 05:10 | Okay, I've restarted Nuke
and reloaded my script.
| | 05:13 | We now come up to the Viewer pop-up
list and there is Marciesoft. Select that,
| | 05:19 | and there is our custom viewer process.
| | 05:22 | So, the advantage of the viewer
process method is that it's not going to be
| | 05:26 | accidentally changed by an artist.
| | 05:28 | Also, you can have one copy that's
centrally located so it's the best method for
| | 05:32 | sharing with a workgroup.
| | 05:35 | In our next video, we'll take a look at
Nuke's color picker, very sophisticated
| | 05:39 | and sometimes intimidating tool.
| | Collapse this transcript |
| The Color Picker| 00:01 | Nuke has an incredibly powerful and
occasionally intimidating color picker. Let's take a look.
| | 00:07 | First, we'll go get Marcie. Of course,
by now, we all know where Marcie lives,
| | 00:11 | in Lesson 1.
| | 00:15 | Now let's add a Constant color node.
| | 00:17 | Up at the Images tab, come down to Constant.
| | 00:22 | We'll hook up Marcie to input one of our
Viewer, and the Constant color node to input two.
| | 00:28 | Notice that the Constant color format
is PC_Video, and I got that from where?
| | 00:33 | System Preferences, good, good,
and of course, Marcie is a whole
| | 00:36 | different format, 512x373.
| | 00:40 | So, we want to set the Constant
color node to the same format as Marcie.
| | 00:45 | So, we come up to the Format pop-up.
| | 00:48 | Here's Marcie's format.
| | 00:50 | Remember, every time you add a new
image to Nuke that doesn't fit into an
| | 00:54 | existing format, Nuke makes a new one for you.
| | 00:57 | So, we'll select Marcie's format, and
now when we toggle between the Constant
| | 01:01 | color node and Marcie,
they have the same format.
| | 01:05 | We don't need this Read node anymore
to take a look at our color picker.
| | 01:09 | All of the color nodes have the same
color picker and eyedropper setup that we
| | 01:14 | see here in the Constant color node.
| | 01:17 | The virtue of using the
Constant color node is its simplicity.
| | 01:21 | So, we'll start by opening the
color picker by selecting this little
| | 01:24 | rainbow circle here, click.
| | 01:28 | The Constant color node has three
different color spaces, TMI, HSV and RGB.
| | 01:35 | There is the intimidation part.
| | 01:37 | One of the really cool things about the
color picker is you can change its layout.
| | 01:42 | You can have it horizontal or
vertical. Put it where you want.
| | 01:46 | Size it anyway you want.
| | 01:47 | We'll put it back here.
| | 01:50 | Let's start by just
looking at the RGB sliders only.
| | 01:53 | I'm going to turn off TMI and HSV.
| | 01:57 | The RGB sliders, of course,
you can click-and-drag.
| | 02:01 | You can just click and they
all jump to the new position.
| | 02:05 | You can also type a number in here by
selecting the field and type 0.5, and you
| | 02:09 | must terminate with the Return key.
| | 02:12 | This is an inconsistency in the user interface.
| | 02:14 | Don't just click outside the box.
| | 02:16 | It doesn't take the number.
| | 02:18 | You must hit the Return key
and then the number is entered.
| | 02:22 | You can also use the click left to the
digit and use Up and Down arrows, and you
| | 02:27 | can also use the Alt+middle-mouse
-drag virtual slider technique.
| | 02:32 | Of course, you can go up to the
parameters window in the Constant color node,
| | 02:37 | type in a new number and that
will be entered into it as well.
| | 02:41 | Now this slider over here adjusts
the density of the alpha channel.
| | 02:46 | So, let's take a look at that by
switching the Viewer over to the alpha channel,
| | 02:50 | and we see a bunch of black.
| | 02:52 | The reason we're seeing black is the Constant
color node default is it has no alpha channel.
| | 02:58 | So first we'll have to turn it on.
| | 02:59 | We'll come over here to
where the alpha channel lives.
| | 03:03 | You see it's set for none.
| | 03:05 | This pop-up here, select rgba.alpha.
| | 03:09 | We have not yet talked about Nuke's channels.
| | 03:11 | This is a little weird, but just trust me.
| | 03:14 | Click on rgba.alpha. We've added an
alpha channel now to our Constant color node
| | 03:20 | and now the Alpha slider will
adjust its density. All right!
| | 03:23 | Let's put the Viewer back to color by
hitting the A key again, and take a look
| | 03:30 | at these color chips up
here and see what they do.
| | 03:32 | Let me change the color here.
We have two color chips.
| | 03:38 | The one on the right is the color you
started with; the one on the left is the
| | 03:43 | correct color you've got selected.
| | 03:46 | If I go and change that, like this,
you see a third box is opened up.
| | 03:51 | That box is the old current color, and the
box on the left is now the new current color.
| | 03:58 | When I let ago, the middle box goes away.
| | 04:04 | The color wheel down here is yet
another way that you can dial up your colors.
| | 04:08 | Of course, you can move this
point around here and select
| | 04:11 | different hues and saturations.
| | 04:14 | If you want to adjust hue only without
affecting saturation, you move this outer
| | 04:18 | triangle around here.
| | 04:21 | You can also affect saturation only
without affecting the hue by holding down
| | 04:26 | the Shift key while you
move this slider in and out.
| | 04:29 | That constrains it so that
you can't move it horizontally.
| | 04:34 | There are two other states for
the color wheel choice up here.
| | 04:38 | Click on this button and we get the
Photoshop type color wheel, where saturation
| | 04:44 | is left and right, brightness is up
and down, and hue is around the perimeter.
| | 04:51 | The third state is no color wheel at all.
But most of the time, you're going to
| | 04:56 | want the color wheel.
| | 04:58 | Now let's take a look at the HSV sliders.
| | 05:01 | Come up here and click them on, and we add
HSV, which is Hue, Saturation and Value.
| | 05:08 | One of the mistakes I always make is
having Saturation set down to zero and
| | 05:12 | I come here trying to change the Hue,
and go, hey, nothing is happening.
| | 05:14 | So, make sure you've got some
Saturation setting so that you'll see a change
| | 05:18 | when you move your hue.
| | 05:19 | V is short for value, because there are
HSV and HSI color spaces. The I and the V,
| | 05:29 | Intensity and Value, are similar.
| | 05:31 | They are simply, slightly different ways
of calculating the brightness of an image.
| | 05:39 | The last color space slider set is TMI,
Temperature, Magenta and Intensity.
| | 05:45 | In film land, they have a concept
called color temperature, the temperature of
| | 05:50 | the film, and they might want
you to make it a little cooler.
| | 05:55 | If somebody asks you to make the
picture a little cooler, you come to the
| | 05:58 | Temperature slider and move it towards the blue.
| | 06:01 | If they want it to be a little warmer,
the Temperature slider goes towards the yellow.
| | 06:06 | When you adjust the temperature of a picture,
it will often disturb the Magenta component.
| | 06:12 | So, this slider will allow you to put
more magenta in or take more magenta out.
| | 06:17 | Of course, the I is the Intensity,
which is another brightness control.
| | 06:24 | The last thing I want to
show you is the eyedropper.
| | 06:26 | That's this little toggle button right here.
| | 06:28 | You see the little eyedropper icon?
For that, we're going to need Marcie.
| | 06:32 | So, we'll go to the
Viewer and switch to input 1.
| | 06:36 | The concept of the eyedropper is
exactly like you would expect from Photoshop.
| | 06:39 | It samples colors off the screen
and puts it into the color picker.
| | 06:43 | So, I can come into this picture.
| | 06:45 | I'm going to do the Shift+Command-drag
a window, and that has picked up this brown
| | 06:50 | and put it right
here into the color picker.
| | 06:53 | If I select another area, that
gets put into the color picker.
| | 06:59 | One of the neat things you can do
with this, you can sample a region of the
| | 07:02 | screen and then you can build on that.
| | 07:04 | For example, I would like to have a more
saturated version of that color, or I'd
| | 07:10 | like a darker version of that color.
| | 07:12 | So, you can sample from the
screen and then make a variation on it.
| | 07:17 | An important production tip is to be
sure to turn the eyedropper off when
| | 07:20 | you're done with it.
| | 07:21 | With it turned off, you can't
accidentally change your color picker settings.
| | 07:27 | In this movie, we took a look at
the RGB, HSV and TMI color sliders in
| | 07:33 | Nuke's color picker.
| | 07:35 | We also saw how to control the color
wheel and the two different color wheels.
| | 07:39 | Of course, the third one is the no color wheel.
| | 07:42 | We also saw how to use the eyedropper
to pick colors off the picture, and put
| | 07:47 | them into the color picker, plus the
tip, don't forget to turn the eyedropper
| | 07:51 | off when you're done with it.
| | 07:52 | Put your toys away when
you're done playing with them.
| | 07:55 | Okay, in our next movie, we're going to
see how the color picker and eyedropper
| | 08:00 | are used to do color
corrections with the various color nodes.
| | Collapse this transcript |
| The Grade node| 00:01 | We'll start out looking at Nuke's
powerful color correcting capabilities by
| | 00:04 | looking at the all-important Grade node.
| | 00:07 | To see how the Grade node works,
let's set up a little test bit
| | 00:11 | that will show us the
mathematics of each operation.
| | 00:15 | We'll come up here to the Draw tab.
| | 00:17 | Let's select the Ramp node.
| | 00:21 | Hook that into our Viewer
by typing 1 on the keyboard.
| | 00:26 | I like my ramps to go from
black to white, left to right.
| | 00:29 | So, I'm going to set this,
like this, 0.0 and 0.1.
| | 00:35 | Then to make it perfect, we'll set 0.0X at 0,
and the y value, I call that 150, and 0.1.
| | 00:42 | We'll set the X position at
640 and the Y value also at 150.
| | 00:48 | I now have a mathematically
perfect ramp here to play with.
| | 00:53 | We'll close the Property panel and let's
go get from the Color tab, the Sampler node.
| | 01:01 | The Sampler node is very cool, in that
it will draw a graph from any scanline
| | 01:06 | across the image that you want.
| | 01:08 | I'm going to tell it to go to scanline 100.
| | 01:12 | So, it's going to be sampling right across here.
| | 01:14 | Of course, it could sample
anywhere. It doesn't matter.
| | 01:16 | I'll give this a little more
room for the Sampler graph.
| | 01:22 | To update the frame, you click on the
Sample current frame button and then
| | 01:27 | click in the Viewer.
| | 01:30 | Now it's plotted a graph from left to
right across the image, the code values
| | 01:35 | from zero all the way up to 1.0.
| | 01:39 | Now we can plug in a Grade node and
try all of the adjustments and see the
| | 01:43 | effect they have on the RGB
values, sort of a diagnostic tool.
| | 01:47 | Let's give ourselves a little more room
in the Ramp and insert a Grade node or
| | 01:52 | use G on the keyboard
between the Ramp and the Sampler.
| | 01:57 | I want the Sampler at the top of the
property bin, so I'm going to double-click
| | 02:01 | on the Sampler node.
| | 02:04 | Now let's take a look at each one of
these adjustments in the Grade node and how
| | 02:07 | they work. The blackpoint.
| | 02:10 | Whatever value you enter
here will be pulled to black.
| | 02:14 | If I enter a 0.2 to update my graph
now, I have to click on Sample current
| | 02:21 | frame and then click in the Graph Viewer.
| | 02:24 | Code value 0.2 got pulled down to zero.
| | 02:28 | If I enter a -0.2, and then
re-sample, click in the Viewer,
| | 02:34 | now -0.2 got pulled up to zero,
which pushed all these code values up.
| | 02:40 | I'll reset this back to default by doing a
Command+Click on the line. And the whitepoint.
| | 02:46 | Whatever value was entered in this
field, means to pull that to 1.0.
| | 02:51 | If I enter a lower value like .8, then
code value .8 is going to be pulled up to
| | 02:58 | 1.0, and we can see that right here.
| | 03:01 | We'll re-sample, click to update the
Viewer and then we'll pan down, cursor down
| | 03:07 | here so we can get a
better view. There you go.
| | 03:09 | The code value .8 got pulled up to 1.0,
and all those other code values got
| | 03:14 | scaled up above 1.0.
| | 03:17 | If I enter a larger code value, like 1.2,
it'll push all the code values down.
| | 03:24 | We can see that if I resample the
Viewer and click, and there we go.
| | 03:28 | They all got scaled down.
| | 03:30 | I'll set this back to default with a
Command+Click on the line and resample the
| | 03:34 | viewer one more time.
| | 03:35 | We are back to our zero to one graph.
| | 03:39 | Lift. Lift is an interesting one.
| | 03:42 | I'm going to enter a .2,
and then update the Viewer.
| | 03:47 | You see what it did?
| | 03:47 | It pushed the code values up.
Only in the darks though.
| | 03:51 | The code value here. 1.0 was unaffected.
| | 03:54 | We'll set that back to default and resample the
viewer, watch the blacks, click. See how it moved?
| | 04:00 | All right!
| | 04:01 | The gain is a simple scale factor.
| | 04:03 | So, if I have 1.2 for gain, when I
refresh the Viewer, all the code values are
| | 04:09 | scaled up, rather like what
we saw with the whitepoint.
| | 04:13 | Now, the gain and the multiply
are mathematically identical.
| | 04:16 | They are just two different names,
depending on what school you come from.
| | 04:20 | I'll prove that to you by setting the
gain back to default, setting multiply to
| | 04:25 | the same value, and then
refreshing the Viewer. No change.
| | 04:30 | That proves they're identical.
| | 04:32 | I'll reset multiply back to default, refresh
the Viewer. Now let's take a look at offset.
| | 04:40 | Offset at .2, refresh the Viewer.
| | 04:45 | It adds a constant .2 to
every code value in the picture.
| | 04:48 | The blacks went up and the whites went up.
| | 04:52 | This is very different than the lift.
| | 04:54 | It may look similar, but
let's go back to the lift.
| | 04:56 | I'm going to turn offset back
to default and set lift to .2.
| | 05:02 | Now watch what happens when I update the Viewer.
| | 05:06 | See the difference?
| | 05:08 | Okay, we're going to set that back to default,
resample our Viewer and now of course, gamma.
| | 05:13 | 0.5 gamma, refresh the Viewer, and
our image is considerably darkened.
| | 05:22 | Now, I'll put in a gamma of 2, which
will brighten the picture, resample the
| | 05:27 | Viewer and there is a gamma curve of 2.
| | 05:30 | Now let's take a look at the channel toggles.
| | 05:32 | These little check buttons here
turn on and off each of the channels.
| | 05:36 | Any channel that's turned on will get
the operation in question, any channel
| | 05:40 | that's turned off doesn't. So, if I turn
off the red channel and then refresh the
| | 05:45 | Viewer, the red channel did
not get the gamma correction.
| | 05:49 | I'll turn him on and the green and the blue off.
| | 05:52 | We'll resample the Viewer.
| | 05:54 | Now the red got the gamma
correction, but blue and green did not.
| | 05:59 | Okay, turning the green and blue
channels back on, now let's unfold the
| | 06:03 | four channels here.
| | 06:05 | With all four channels spread open,
we can now adjust each one for a
| | 06:09 | different value like this.
| | 06:12 | Now if we update the Viewer, we see that
each channel has its own separate gamma value.
| | 06:17 | Of course, we can also do a
keyframe animation. Simply take one of the
| | 06:21 | parameters and turn on all the keyframes.
| | 06:23 | If we unfold it, we'll see that
all four of them have their own
| | 06:26 | separate keyframes.
| | 06:27 | So now we can create keyframe
animation for any channel for any one of the
| | 06:32 | color correction operations in the node.
| | 06:36 | Let's take a look at these clamps down here.
| | 06:37 | This is interesting.
| | 06:38 | I'm going to reset the gamma, back to
default, and then update the Viewer.
| | 06:46 | Notice the default setup as the black clamp
is turned on and the white clamp is turned off.
| | 06:50 | Let's see why.
| | 06:51 | I'm going to go to the gain,
and set up for gain of 1.2.
| | 06:56 | As we saw before, the code values pop
up above 1.0, and that's normally fine.
| | 07:01 | If I turn on the white clamp, and then
update the Viewer, look what happens.
| | 07:06 | All the code values got clamped at 1.0.
| | 07:10 | Now this is normally not what you want
for an RGB image, but what you do want
| | 07:15 | for a matte or a mask.
| | 07:16 | So, I'm going to turn the white clamp
off and resample the Viewer, so my whites
| | 07:22 | are no longer clamped.
| | 07:25 | The default for the black
clamp is to be on, and here's why.
| | 07:30 | If I were to set a lift, for example, of
-.2, that drops the curves down below zero.
| | 07:37 | With the black clamp turned on like it
is now, if I enter a lift of -.2, that's
| | 07:43 | going to drop the code values down
below zero, but they're going to be clamped
| | 07:48 | to zero, because the black clamp is turned on.
| | 07:50 | If I disable it and refresh,
now I've got code values below zero.
| | 07:56 | You almost never want this to happen,
almost never with RGB and never, never
| | 08:02 | with masks or mattes.
| | 08:06 | So, that's why the default for the black
clamp is on and the white clamp is off.
| | 08:11 | In our next movie, we'll see how to
work with the eyedropper to sample values
| | 08:14 | for loading Grade node parameters.
| | 08:17 | We'll also see how to work
with unpremultiplied CGI images.
| | Collapse this transcript |
| Setting Grade node parameters| 00:01 | Now we'll take a look at how to use the
eyedropper to set Grade node parameters.
| | 00:05 | To see the rest of the Grade
node we're going to need Marcie.
| | 00:08 | So, I am going to clear
everything out of the Property Bin.
| | 00:12 | Let's go get Marcie.
| | 00:13 | We all know where she lives by now.
In Lesson_01_Media. There she is.
| | 00:18 | We'll bring in Marcie, we'll add a
Grade node with the G on the keyboard and a
| | 00:25 | new Viewer with Command+I. Open that up.
| | 00:31 | You'll get a little bigger Marcie.
| | 00:32 | You don't need this Read node
anymore, so we'll click that away.
| | 00:36 | Take a look at the Grade node for Marcie.
| | 00:39 | What I wanted to show you here is how to
use the eyedropper with the Grade node.
| | 00:43 | Several of these parameters
can be set with the eyedropper.
| | 00:46 | The whitepoint is a case in point.
| | 00:48 | We come over here and turn on the
eyedropper. Now any point I sample in the
| | 00:53 | picture will be put into the whitepoint value
and that will be brought up to the whitepoint.
| | 00:57 | So, I'll do Command+Click-and-drag and oh
good, lord, look at that! Nuke is going insane.
| | 01:04 | The reason it's going insane is as
I am dragging and sampling, it keeps
| | 01:07 | toggling between the corrected and
uncorrected image, bouncing back and forth,
| | 01:11 | getting all confused.
| | 01:13 | There is a special
command designed to beat this.
| | 01:16 | That's the Alt+Command+Click sample.
| | 01:19 | So, Alt+Command, click-and-drag and
it now samples the input image, not the
| | 01:25 | results of the Grade node.
| | 01:28 | Nuke no longer goes insane
and the results are beautiful.
| | 01:32 | So, what I did was I sampled this
white from the original incoming image and
| | 01:36 | that value got set here in the
whitepoint and that is now been pulled up to 1.0.
| | 01:43 | Don't forget to turn the eyedropper off,
so that you don't accidentally sample
| | 01:47 | other parts of the picture
messing up your color selections.
| | 01:50 | Now here's an interesting
toggle, the Reverse toggle.
| | 01:54 | Here's how that works.
| | 01:58 | Let's say I've got this Grade node,
which has applied the whitepoint adjustment.
| | 02:01 | I am going to insert a Blur node by
typing B on the keyboard, which represents
| | 02:06 | some intervening operation. We don't care what.
| | 02:08 | Now I am going to make a copy of
this Grade node. Command+C and paste it.
| | 02:15 | Command+V and insert it right in here.
| | 02:18 | Of course, I am getting two whitepoints.
| | 02:21 | I am going to put the copy, Grade3, up
here in the top of the Property panel and
| | 02:27 | now when I click Reverse, it will
mathematically reverse the color correction
| | 02:31 | from the Grade2 node.
| | 02:33 | I now get back the original image.
| | 02:36 | So, anytime you want an exact reversal
of the color correction, just make a copy
| | 02:41 | of the node, flip reverse, and insert
it into the node tree, or delete these
| | 02:47 | nodes because we don't need them anymore.
| | 02:49 | The next item is Mask.
| | 02:50 | We are going to save that for the next
video, where we talk about the Bezier
| | 02:54 | node and masking color correction operations.
| | 02:57 | The next operation is the (un)premultiply.
| | 03:00 | Remember, all your pre-multiplied CGI
has to be first un-premultiplied, then
| | 03:06 | color graded, then re-multiplied.
| | 03:08 | Nuke will do that for you
automatically inside the Grade node if you just
| | 03:12 | tell it to, but you must tell it
what alpha channel to use for the
| | 03:16 | (un)premultiply operation.
| | 03:19 | It's done here in this little pop-up.
Normally it's going to be the alpha
| | 03:23 | channel that's right behind the image.
| | 03:25 | So, we will select rgba.alpha.
| | 03:28 | Now Nuke is complaining because Marcie
doesn't have an alpha channel, so I'll
| | 03:32 | just disable it temporarily right there.
| | 03:34 | So, this is the setup you want is
to have the rgba.alpha here and that
| | 03:39 | tells Nuke to perform the
(un)premultiply operation on your CGI,
| | 03:43 | color grade it then re-multiply it.
| | 03:44 | Of course, you want to turn
that on so it will actually do it.
| | 03:47 | We are turning it off just
to avoid the error message.
| | 03:52 | The last parameter of course is the
Mix slider, which simply does a mixed bag
| | 03:56 | between the results of the node and
the original incoming image like this.
| | 04:03 | In our next video, we'll take a look at
the ColorCorrect node, a very powerful
| | 04:07 | compound color corrector.
| | Collapse this transcript |
| The ColorCorrect node| 00:00 | Nuke's ColorCorrect node is a
classic compound color corrector.
| | 00:04 | Let's take a look at how it works with Marcie.
| | 00:07 | So, we'll go get Marcie.
Wverybody knows where she lives now.
| | 00:15 | So, remember from your keyboard
shortcuts, we have a quick key for
| | 00:18 | the ColorCorrect node.
| | 00:19 | That's the letter C on your keyboard,
and then we just type 1 to hook it up to
| | 00:23 | input number one of the Viewer.
| | 00:25 | We're going to adjust the Viewer for
a little more screen space here and
| | 00:29 | we don't need this Read node anymore right here.
| | 00:33 | The key feature of a compound
color corrector is how it divides the image up into zones.
| | 00:39 | You have shadows, midtowns, and highlights,
and it allows you to adjust each zone
| | 00:47 | or range individually.
| | 00:50 | There's also a master zone,
which is the entire image.
| | 00:53 | So, we could, for example, adjust the
gain in the master and you can see the
| | 00:56 | whole image is affected. I'll undo that.
| | 00:59 | But if I come here to the shadows and I
swing the gain up-and-down, you can see
| | 01:03 | the shadows are affected, but the
skin tones, which are in the midtowns, and the
| | 01:07 | highlights in the hair are
not affected. I'll reset that.
| | 01:13 | We go to the midtones and adjust the
gain and now the skin tones, which are in
| | 01:16 | the midtones, are wildly affected,
but the highlights in the hair and the
| | 01:20 | shadows are not affected.
| | 01:21 | Again, exactly what we would expect.
| | 01:25 | We go to the highlights and of course,
the highlights in the hair and as you
| | 01:28 | can see up here on the shoulder,
those are affected and the rest of the
| | 01:32 | picture is left untouched.
| | 01:35 | The little black triangles here are
used to fold and unfold each of the ranges
| | 01:40 | so you can get them out of your way when
you're done with them, as you could see
| | 01:44 | over here with the number
four and all these columns.
| | 01:47 | That means there are really four
parameters and by clicking on it, we can unfold it
| | 01:51 | and adjust each one of channels individually.
| | 01:55 | We can also fire up the color picker and use
it to adjust, for example, just the red gamma.
| | 02:03 | We'll put that away and of course, each one
of the parameters has an eyedropper option.
| | 02:10 | Every parameter, of course, can be
keyframed, either the entire parameter or each
| | 02:15 | one of the channels individually.
| | 02:16 | I am going to reset the ColorCorrect
node back to default to show you the
| | 02:22 | channel toggles up here at the top.
| | 02:24 | As you know, each of these enables
the channel to be affected by the node.
| | 02:28 | For example, if I turn up the gain,
all three channels are affected, but if
| | 02:32 | I turn off the blue and the green, only
the red channel would get the gain increase.
| | 02:36 | We'll turn those back on.
| | 02:40 | You can also change the definition
of what is a shadow, a midtone or a
| | 02:44 | highlight, and that's done on the Ranges tab.
| | 02:47 | These three curves define the three zones.
| | 02:51 | So, there is a curve for the
shadow, the midtown, and the highlight.
| | 02:55 | Now here is the key issue.
| | 02:57 | You can only adjust the shadow curve
and the highlight curve, not the midtone.
| | 03:02 | The midtone is calculated by Nuke, based on
where you put the shadow and the highlight.
| | 03:07 | For example, here is your midtone
curve right here. Here's our shadow curve.
| | 03:11 | I am going to pull the shadow curve up this
way and you can see that the midtone moved.
| | 03:16 | I could pull the highlight curve
up like that, and that's changed the
| | 03:19 | midtone definition as well.
| | 03:22 | Another important feature on the
Ranges tab is this yellow line here.
| | 03:26 | I'll go back to the ColorCorrect tab
and reset all the knobs to default.
| | 03:32 | Then come back to the Ranges tab to show
you this feature here, the yellow line.
| | 03:37 | Placing your cursor over the image, the
yellow line will move to show you where
| | 03:42 | in the range color curves that pixel is located.
| | 03:45 | For example, on the shoulder here the
yellow line says this is going to land in
| | 03:50 | the midtone range. If I move it up
here into the very dark parts, obviously
| | 03:55 | that's going to be in the shadow, and
up here on the hair that tells me it's
| | 03:59 | going to be in the highlights.
| | 04:00 | So, you can use the yellow line to find out
which pixels are in what part of the picture.
| | 04:07 | You can then adjust the range curves,
so you can control which parts of the
| | 04:11 | picture fall into what ranges.
| | 04:15 | Down here at the bottom of the Ranges tab
are the mask, (un)premultiply, and mix controls.
| | 04:20 | And of course, they work
exactly like we so in the Grade node.
| | 04:23 | While the Grade node and the
ColorCorrect node might seem similar, they have
| | 04:27 | very important differences.
| | 04:29 | To see that we are going to add a
Grade node here. We'll set the ColorCorrect
| | 04:34 | node back to the ColorCorrect tab
| | 04:37 | so we can compare the features.
| | 04:40 | The number one issue is that the Grade
node affects the entire picture, whereas
| | 04:44 | the ColorCorrect node obviously
allows you to go in and adjust the zones.
| | 04:48 | The Grade node also has some features
that ColorCorrect doesn't have, mainly
| | 04:53 | blackpoint, whitepoint, and lift.
| | 04:56 | But the ColorCorrect node has a couple
of features that the Grade doesn't have,
| | 04:59 | saturation and contrast.
| | 05:02 | The way they are used is the Grade
note is used primarily to grade the entire
| | 05:07 | picture like a raw film scan to adjust
the blackpoint and the whitepoint and
| | 05:11 | the gamma and the gain to get it
balanced for the composite, whereas the
| | 05:15 | ColorCorrect node is used usually afterwards
to fine-tune the color correction of the shot.
| | 05:22 | In our next video, we'll look at the
ColorLookup node where you use color
| | 05:26 | curves to color grade a picture.
| | Collapse this transcript |
| The ColorLookup node| 00:00 | Nuke's ColorLookup node, or what some
might call a Color Curve node, has several
| | 00:05 | interesting features.
| | 00:07 | We'll start with Marcie, select her,
come up to the Color tab and add
| | 00:12 | a ColorLookup node.
| | 00:15 | I am going to expand the Viewer so
we can see better and give Marcie a
| | 00:19 | little more Viewer space.
| | 00:22 | The ColorLookup node has five curves.
| | 00:25 | There is a master curve and then
one for red, green, blue and alpha.
| | 00:30 | The interesting thing is that you can
adjust the master curve, which gives you a
| | 00:34 | global adjustment, and then on top of
that, go into any one of the other curves
| | 00:39 | and give it a separate adjustment,
and the two curves accumulate.
| | 00:44 | To insert control points,
I'll select the green curve.
| | 00:48 | It's the same Alt+Command+
Click for any curve in Nuke.
| | 00:53 | Also, when you go to move the curve,
you'll find the same constrained motion.
| | 00:57 | I can only move it in y or only move it
in x, and holding down the Command key
| | 01:03 | will allow you to move
in x and y simultaneously.
| | 01:07 | Now in the ColorLookup node the Set knobs
to default button does not reset the curves.
| | 01:13 | You have several options.
| | 01:16 | You can select the curve and then click
down here on the Reset button and that
| | 01:21 | one curve will be reset or, back to my
green curve, you can use Undo or come up
| | 01:30 | here and use the Revert button.
| | 01:33 | And of course, the Revert button is
going to set all the curves to their state
| | 01:36 | when you first open the ColorLookup node.
| | 01:39 | There are also these three
color lines you see dancing around.
| | 01:43 | What they're doing is they're
reporting the RGB value under the cursor.
| | 01:47 | Now here is how you use that.
| | 01:49 | Using Shift+Command to drag a color
sample box. Once you have a color sample box,
| | 01:55 | the curves no longer dance around the
screen when you move the cursor. They are
| | 01:58 | locked off to the average of
the pixel values in that box.
| | 02:02 | Let's say we want to adjust
the red curve for the skin tones.
| | 02:06 | So, then I come up to the red curve,
turn him on, and right here where the
| | 02:11 | red line intersects the red curve, I'll
insert a control point with Alt+Command+Click.
| | 02:16 | That control point on the red curve is
exactly the point where the red value
| | 02:23 | is in the skin tones.
| | 02:24 | I can now adjust that and affect my skin tones.
| | 02:30 | You can also use the 10 Keypad Nudge
feature with the ColorLookup table control points.
| | 02:35 | On the 10 keypad, 4 gets you to the left, 6
to the right, 8 will go up and 2 goes down.
| | 02:43 | We saw this before.
| | 02:47 | Adjusting color curves in the
ColorLookup node gives you tremendous control over
| | 02:51 | color correcting your images.
| | 02:53 | However, many folks find trying to
adjust color curves is a difficult way to
| | 02:57 | make color corrections.
| | 03:00 | Nuke 5.2 added an important new
feature to the ColorLookup node and
| | 03:05 | you could see it right here.
| | 03:06 | It's the Source and Target feature.
| | 03:08 | The idea is you can select a source
color and a target color and then Nuke will
| | 03:13 | change the color curves to match the two colors.
| | 03:16 | I have got a special test set up here that
makes it much easier to see how it works.
| | 03:21 | First, I am going to turn on the
visibility for all three curves.
| | 03:26 | Next, we turn on the source
eyedropper so we can sample the source color,
| | 03:29 | because we're going to
take the source to the target.
| | 03:33 | My mission is to color this
yellow spot to look like the purple.
| | 03:36 | So, the yellow will be the source, so
I'll do Shift+Command and you can see the
| | 03:40 | eyedropper has picked up the source color.
| | 03:43 | I'll select the target dropper, come over
here, Shift+Command, and sample the target color.
| | 03:51 | Now when I click Set RGB, Nuke inserts the
control points to update the color curves.
| | 03:58 | You have another option here to set RGBA
where all four channels would be set or
| | 04:03 | this one set A, which
only sets the alpha channel.
| | 04:07 | Important point. Nuke put in these
three control points for me and the curves
| | 04:11 | moved accordingly, but sometimes
the curves go wonky. Don't forget.
| | 04:15 | It's going to affect the entire curve,
not just the area you're interested in.
| | 04:19 | Oh, now you might have
noticed this little dark ring here.
| | 04:23 | So, anybody know what's going on here?
| | 04:25 | Well, this is a
premultiplied element right here.
| | 04:31 | So, what I have to do is I have to turn
on the (un)premultiply enable feature.
| | 04:35 | So, I am going to come over here to
the pop-up and say, yes, use the alpha
| | 04:39 | channel of this to do an (un)premultiply
followed by a re-multiply to make that
| | 04:44 | little colored line go
away, and there you have it.
| | 04:50 | In our next video, we'll take a look at
the workflow when using the ColorLookup
| | 04:53 | node with real images.
| | Collapse this transcript |
| ColorLookup node workflow| 00:01 | Now, let's take a look at how to use
this with real images because there are
| | 00:04 | some workflow issues you need to be aware of.
| | 00:08 | We'll scoot this over.
| | 00:09 | Let's go get a couple of pictures.
| | 00:11 | Go get the Read node, go to our WORKSHOP,
Lesson_3_Media, select clouds_A and
| | 00:20 | clouds_B, and we'll open those, okay.
| | 00:25 | Let's clear the Property Bin, attach a
Viewer to clouds_A, Command+I, and a Viewer
| | 00:32 | to clouds_B with a number 2.
| | 00:35 | What we want to do is to make the
hideous clouds_B look like the lovely clouds_A.
| | 00:46 | So, we'll attach a ColorLookup node to
clouds_B. We'll come to the Color tab >
| | 00:50 | ColorLookup, insert our node.
| | 00:54 | We also want a third connection that goes
between the original image and the viewer.
| | 00:59 | So, I am going to hook that
in, so that's input number 3.
| | 01:03 | So, on input 1 we have the original
clouds, input 2 will be the color corrected clouds,
| | 01:08 | and input 3 will be the original clouds.
| | 01:13 | Again, we want to make all three
curves visible, so we can watch the action.
| | 01:18 | The key to making this work is to very
carefully match the two regions that you
| | 01:23 | are matching between the two pictures.
| | 01:25 | You have to be very careful
that you match midtone-to-midtone,
| | 01:28 | highlight-to-highlight, shadow-to-shadow.
| | 01:31 | If you are off a little bit and you
match like a shadow to a midtone, you are
| | 01:34 | going to really mess up the picture.
| | 01:37 | So, choosing your targets
very carefully is the key.
| | 01:41 | So, let's start wit the midtones.
| | 01:45 | My source in this picture here.
I have carefully chosen this to be the
| | 01:50 | midtones for my source.
| | 01:52 | So, the first thing to do is to turn
on the source eyedropper and then sample
| | 01:57 | that region to get the source color.
| | 01:59 | Re-home the Viewer, switch to the target.
| | 02:02 | Carefully choose the zone
in the target that I want.
| | 02:06 | First, of course, we'll have to enable
the target eyedropper, then we'll come up
| | 02:10 | here and select our target, midtones.
| | 02:13 | Re-home the Viewer.
| | 02:15 | When I switch to the ColorLookup node,
and watch what happens when we say Set RGB.
| | 02:21 | Bang! Pretty good!
| | 02:23 | Now, notice that our curves have gone all wonky.
| | 02:27 | This is a high-dynamic range image,
so I do not need this control point
| | 02:31 | constraining it at 1.0. Code values
can go much beyond that. All right.
| | 02:35 | So, this is now what we've
got as an opening gambit.
| | 02:39 | Realign this a little bit and I am
going to turn off the eyedropper for the
| | 02:45 | target, so I don't mess up any of my settings.
| | 02:47 | So, our color corrected image is
starting to look pretty good and it's
| | 02:51 | certainly much better than
the original. All right.
| | 02:54 | So next, what I want to do is I want to
set these highlights back here to match
| | 02:58 | the highlights in my target.
| | 03:00 | So, I'll go back to the
original source image here.
| | 03:04 | That's why we need that extra connection.
| | 03:07 | Zoom in and very carefully
choose a nice hot-spot here.
| | 03:11 | First, enable the eyedropper
for the source, always remember.
| | 03:16 | Select that region, re-home the Viewer,
switch to my target, cruise up here,
| | 03:24 | looking for a hot-spot to match.
| | 03:27 | Turn on the eyedropper for the target,
sample that color, re-home the Viewer.
| | 03:34 | We'll switch to the ColorLookup version,
and watch the curves when I select Set RGB.
| | 03:41 | Bang! There is my highlighting.
| | 03:43 | I'll refit the color curve viewer.
| | 03:46 | Now we've got highlights in our color
corrected version that look pretty darn
| | 03:51 | and close to the highlights in our target.
| | 03:56 | This certainly looks much better than that.
| | 03:59 | This image could never be cut
into an adjacent shot with this one.
| | 04:02 | But these two could be cut
back and forth quite nicely.
| | 04:08 | So, there it is, an important new
feature in the ColorLookup node for Nuke 5.2,
| | 04:13 | the automatic source and
target ColorLookup adjustment.
| | 04:18 | In our next video, we'll look at the
HueCorrect node, which is used for not
| | 04:21 | only color correcting images but also
for spill suppression for blue screens
| | 04:26 | and green screens.
| | Collapse this transcript |
| The HueCorrect node| 00:01 | The HueCorrect node is really kind of
a chroma keyer that allows you to make
| | 00:05 | color correction adjustments in
selected parts of the picture based on their
| | 00:09 | hue and saturation.
| | 00:11 | To see that, let's go get a
picture from Lesson_3_Media.
| | 00:18 | Let's get desert.cin.
| | 00:20 | Bring that up and with that selected,
we'll go to the Color tab and select a
| | 00:26 | HueCorrect node and hook that up to our Viewer.
| | 00:30 | We'll make our Viewer space a little
larger and a little more screen space for
| | 00:34 | our HueCorrect node.
| | 00:38 | The HueCorrect node sports several
different kind of curves you can adjust.
| | 00:42 | You can affect saturation or the
luminance, red, green and blue values, or
| | 00:48 | do red, green or blue suppression.
| | 00:51 | The saturation threshold is
something we'll look at in just a minute.
| | 00:55 | Let's say we want to desaturate the blue sky.
| | 00:57 | Notice as I drag the cursor around the
picture, the yellow line is dancing all around.
| | 01:02 | That yellow line is showing me the hue
that's under the cursor at the moment.
| | 01:07 | So, I am going to zoom into a
section of the sky, select a color box
| | 01:11 | with Shift+Command.
| | 01:14 | Now the yellow line locks in place.
| | 01:18 | We can now use that as a
guide for which curves to adjust.
| | 01:22 | I wanted to desaturate the
blue sky, so this is my blue hue.
| | 01:26 | I'll turn on the Saturation curve.
| | 01:29 | To make it more accurate, I am going to
move this control point right on top of
| | 01:33 | the yellow line, so I am
exactly affecting the hue of the sky.
| | 01:38 | I can now pull down on the
saturation curve and the sky desaturates.
| | 01:43 | If I want to narrow the range of influence,
I can move the side points in tighter.
| | 01:54 | And this way, I am affecting a
narrower range of hues in the picture.
| | 02:00 | This button down here is the Reset
button and we'll reset any and all curves that
| | 02:04 | are selected up here.
| | 02:06 | So, I have reset the saturation curve.
| | 02:10 | Let's take another case.
| | 02:12 | Let's say we want to add
more green to these bushes.
| | 02:14 | So, we'll zoom in real tight.
| | 02:20 | Again, draw a color selection box
to pick the hue we want to affect.
| | 02:27 | Then I'll select the green channel and
raise the green component to make the
| | 02:32 | bushes look greener.
| | 02:34 | Now it also made the rocks look greener,
so I am going to narrow my range like
| | 02:39 | this so the rocks are excluded.
| | 02:41 | Maybe come in a little
bit on this side as well, okay.
| | 02:44 | Now we can see as I toggle the
HueCorrect node on and off, we can see the
| | 02:48 | bushes got greener.
| | 02:49 | But we can also see the sky is also
being affected by this curve. The reason is
| | 02:56 | that the sky is actually the same hue as
the bushes only it's much less saturated.
| | 03:01 | So, the desaturated version of the same hue,
but right now it's being caught in my hue curve.
| | 03:10 | But I can filter out the sky
using the saturation threshold.
| | 03:14 | We'll select that, and what this means
is as I raise the saturation threshold
| | 03:20 | the hue correction will only occur to
parts of the picture that are above this
| | 03:24 | level of saturation.
| | 03:26 | Now the sky has been completely
deselected and I can toggle the effect on and
| | 03:30 | off and the sky is no longer affected.
| | 03:34 | One of the main uses for the
HueCorrect node is spill suppression.
| | 03:38 | To see how that works
we'll make a little space.
| | 03:41 | Let's go get an image from Lesson_2_Media.
| | 03:47 | We'll get the blue screen image.
Bring that in up to the Color tab.
| | 03:54 | Bring in another HueCorrect node
and we'll hook that to the Viewer.
| | 04:00 | So, the mission is we want to do spill
suppression on the blue backing. So, we'll zoom in.
| | 04:08 | Using Shift+Command, we'll draw a color
box to define the target hue and we can
| | 04:12 | see it right over here.
| | 04:14 | Now in this case, I want to
simultaneously affect three different parameters:
| | 04:20 | the blue suppression, the
luminance and the saturation.
| | 04:23 | So, I'll turn on all three curves,
select blue suppress, Command key, luminance,
| | 04:28 | Command key, saturation.
| | 04:31 | All three curves are now
simultaneously selected.
| | 04:34 | I could select this control point and
move it over right on top of my target hue.
| | 04:40 | Now, I'll deselect everybody, select
just the blue suppression and pull down
| | 04:45 | on that one in order to
lower the amount of blue.
| | 04:47 | We'll zoom out a little bit so
we can see our whole picture.
| | 04:50 | Then I'll come up to the saturation and
also pull down on that to de-saturate it.
| | 04:57 | Further removing blue spill. Then to
put back some of the luminance it was lost,
| | 05:02 | I'll select the luminance curve and
raise him up in order to restore the brightness.
| | 05:09 | If I reselect all three curves,
| | 05:11 | saturation, luminance and blue
suppression, I can now again narrow the range of
| | 05:16 | influence by moving all
the control points together.
| | 05:21 | The HueCorrect node has two primary
functions. One is to do color correction on
| | 05:25 | zones or regions of the picture that
you've selected by narrowing down the hue
| | 05:30 | that you want to affect.
| | 05:31 | And the other is to do a spill
suppression for blue screens and green screen shots.
| | 05:38 | In our next segment, we are going to
take a look at Nuke's Bezier node, which is
| | 05:41 | the Shapes node for Nuke.
| | 05:43 | This is probably going to be
your most used node in Nuke.
| | Collapse this transcript |
| Drawing shapes with the Bezier node| 00:00 | For masking and rotoscoping in Nuke,
we use the Bezier node, which is their
| | 00:05 | version of the Shapes node.
| | 00:07 | It's an extremely capable Shapes node.
The only downside is there is only
| | 00:11 | one shape per node.
| | 00:13 | So, if you need to use multiple
shapes you are going to have to use
| | 00:15 | multiple Bezier nodes. Let's take a look.
| | 00:19 | We come up here to the Draw tab.
| | 00:21 | We find the Bezier is the top entry.
| | 00:23 | And the quick key is the letter P.
Since we use the Bezier node a lot, we are
| | 00:28 | going just go straight for the quick key.
| | 00:30 | Type P on the keyboard and hook
it up to input one of the Viewer.
| | 00:34 | We'll give it a little
more room here for our node.
| | 00:42 | To draw a shape, just put your
cursor in the Viewer and hold down the
| | 00:46 | Alt+Command keys.
Click, click, click.
| | 00:52 | To insert a new point, put your cursor on
the line and do another Alt+Command-click.
| | 00:57 | You can even be off to the side and do an Alt+
Command-click and it will insert a new point.
| | 01:03 | To delete a point, simply
select it and hit the Delete key.
| | 01:11 | You can of course select a group of
points and hit the Delete key as well.
| | 01:14 | So, I am going to insert
a new point back in here.
| | 01:18 | To deselect a point, just click off to
the side. Select and click off to the side.
| | 01:25 | To edit the control points just select
them. Click on the control point and now
| | 01:29 | you can move it around, adjust the
slope and adjust the tension handles.
| | 01:37 | If you want the tension handles to be
adjusted the same on both sides, hold down
| | 01:41 | the Shift key and then the
tension will be identical on both sides.
| | 01:45 | If you select two or more control points
you get the transform jack. You can use
| | 01:52 | this to translate, rotate,
scale, or skew your shapes.
| | 02:00 | I will undo, undo, undo.
| | 02:04 | To change the type of control point,
this being a smooth, right mouse pop-up.
| | 02:10 | We have these three options here:
| | 02:12 | break, smooth and cusp.
| | 02:14 | Of course, you are going to want to
use the quick keys Z, X and C, so I'll
| | 02:19 | click off to the side.
| | 02:20 | I have selected this point and I am
going to type the X key on the keyboard
| | 02:25 | and that did a break.
| | 02:26 | That allows me to adjust the slope and
the tension of each side individually.
| | 02:32 | If I select the point and type C for
cusp, I get a linear control point.
| | 02:36 | But I want to put it back to smooth,
select the point and type Z for smooth and
| | 02:42 | I get my control handles back.
| | 02:46 | Now, if you want to draw a nice
square rectangle here's how you do it.
| | 02:49 | I am going to select all
the points and delete those.
| | 02:52 | Cursor in the Viewer, Alt+Command,
click, click, click, click, select all the
| | 02:58 | points, type C on the keyboard.
| | 03:01 | That gets you an instant
sharp-cornered rectangle.
| | 03:05 | To select all the points in the curve,
cursor in the Viewer and type Command+A.
| | 03:11 | Now that they are all selected, I can then make
them all smooth by pressing Z on the keyboard.
| | 03:17 | Click off to the side to deselect.
| | 03:20 | Now sometimes you don't like seeing
this overlay, the wireframe on here, and
| | 03:23 | there are two ways to turn it off.
| | 03:25 | One is remember, all on-screen controls
can be hidden by hiding the Property panel.
| | 03:31 | So, if I put my cursor on the
triangle and close the Property panel,
| | 03:34 | the on-screen controls go away.
| | 03:37 | Another way is, cursor in the Viewer, to type O
on the keyboard and that turns the overlay off.
| | 03:43 | So, O toggles on and off.
| | 03:44 | I'll put that back on.
| | 03:47 | Nuke has a wonderful feathered edge
feature that you can use for motion
| | 03:51 | blurring your rotoscopes.
| | 03:53 | Select a control point, hold down the
Command key and pull out a second control
| | 03:58 | point and get a
beautifully rendered feathered edge.
| | 04:03 | Select another control point, hold
down the Command key, and pull out
| | 04:07 | another feathered edge.
| | 04:09 | If you want to undo the feathered
edge, select the control point and hit
| | 04:14 | Shift+C. Click off to the side to deselect.
| | 04:19 | In our next movie, we'll see how to do
keyframe animation with the Bezier node.
| | Collapse this transcript |
| Keyframing animation with the Bezier node| 00:01 | Now let's see how to do keyframe
animation with the Bezier node.
| | 00:04 | So, let's add a Bezier node by simply
typing P on the keyboard and a 1 to hook
| | 00:09 | it up to the Viewer. Give ourselves a
little more Viewer space here, okay.
| | 00:18 | Make sure we're on frame 1 and then
we'll draw a little shape down here in the
| | 00:22 | lower left-hand corner. Hold down Alt+
Command+click+click+click. Notice that
| | 00:28 | the autokey is already turned on, that's by
default, and we already have one keyframe shape.
| | 00:36 | We'll jump out to Frame 50, select all
the control points with the Command+A and
| | 00:41 | get our transform jack. We'll move it
up here let's say, maybe give it a rotate,
| | 00:47 | and then adjust some of the control
points to change the shape, which you're
| | 00:51 | always going to want to
do when you're rotoscoping.
| | 00:54 | Then we'll jump to our last frame,
select all with Command+A, get the transform
| | 00:59 | jack, bring it down here, maybe rotate
it a little bit, deselect, adjust the
| | 01:05 | shape by moving the control
points around. All right.
| | 01:08 | I'm going to set this for one time
through. Back to the beginning of the shot.
| | 01:14 | Play our keyframe animation, okay.
| | 01:21 | Notice that all the frames that the
shape has a keyframe on have the little
| | 01:24 | turquoise color, down here, over
here, and of course our last frame.
| | 01:30 | So, to delete a shape,
simply go to that keyframe.
| | 01:33 | I'm going to click back here to jump
to keyframe 51, come up to the Property panel,
| | 01:38 | right mouse click, Delete Key.
| | 01:42 | That keyframe is now gone.
| | 01:44 | We now have our keyframes 1 and 2.
| | 01:54 | And take a look at the output channel toggles.
| | 01:56 | If I turn off the red, green and blue
channel, the Bezier node is no longer
| | 02:02 | putting out any information on those
channels, but if we switch the Viewer to
| | 02:06 | the Alpha channel, we can see that the
Alpha channel is still putting out some picture.
| | 02:10 | Back to RGB, and
we'll turn those back on.
| | 02:16 | You frequently want to turn those
channels on and off, so it's important that to
| | 02:19 | be comfortable with that.
| | 02:22 | Now let's take a look at Color tab.
Click on the Color tab and you can dial
| | 02:27 | your shape to be any color gray you want,
including the alpha channel. Cursor in
| | 02:32 | the Viewer, A on the keyboard, we're
now looking at the alpha channel, and
| | 02:37 | we can dial in the density of the alpha channel.
| | 02:39 | So, I'm going to reset that back to
default and switch back to the RGB channels.
| | 02:46 | We can also turn on the color picker
here and dial RGB value for our shape.
| | 02:51 | There is a lovely purple.
| | 02:53 | Also, if we switch to the alpha
channel, we can see that the Alpha slider now
| | 02:58 | affects the density of the alpha channel.
| | 03:01 | So, we can dial in any color and
any alpha channel density we want.
| | 03:06 | Switch back to RGBA.
| | 03:07 | I'm going to close the color picker and
I'm going to reset that back to default.
| | 03:15 | Next let's take a look at the Ramp feature.
| | 03:17 | When you turn that on,
I'm going to select the linear ramp style.
| | 03:21 | You get two control points,
two new points, .1 and .0.
| | 03:25 | .1 will have the color you've already
dialed in. .0 is a new point for any
| | 03:31 | second color you would like.
| | 03:32 | The default is black.
| | 03:34 | Of course, we can make that any color we want.
| | 03:38 | The idea is we now have a linear
gradient anywhere over our shape.
| | 03:43 | We can choose a different type of
smoothing gradient, put it back to linear,
| | 03:49 | and we can turn it off.
| | 03:52 | Notice while I'm in the Color tab,
I got no control points on my Bezier.
| | 03:57 | The story is you don't get control points
unless you have the Bezier tab selected.
| | 04:02 | Now here's my control points back again.
| | 04:05 | So, if you're ever missing your control
points just click back to the Bezier tab.
| | 04:10 | There are several more controls for
the Bezier node that you'll want to know
| | 04:13 | about and we'll see those in the next movie.
| | Collapse this transcript |
| Additional Bezier node controls| 00:01 | In this movie, we'll take a look at
several more controls for the Bezier node,
| | 00:04 | so let's get a CheckerBoard node.
| | 00:07 | Come up here, select CheckerBoard
and we'll hook it up to the Viewer.
| | 00:12 | The important thing I wanted to show you
about the CheckerBoard node is it comes
| | 00:15 | with an alpha channel, okay.
| | 00:17 | Switch back to the RGB channels.
| | 00:19 | Now let's insert a Bezier node, we'll
select the CheckerBoard, type P on the
| | 00:25 | keyboard, holding down Alt+Command,
click, click, click to draw our shape.
| | 00:32 | We don't need the CheckerBoard property
panel anymore, so let's get rid off that.
| | 00:36 | What I wanted to show you is
this replace toggle right here.
| | 00:40 | With replace toggle turned on,
it means to clear the channel and replace it
| | 00:44 | with the Bezier node.
| | 00:46 | So, if we turn that on, the RGB channels have
been cleared and replaced with the white Bezier.
| | 00:50 | I'll turn that off. Switching the
Viewer over to the alpha channel,
| | 00:56 | replace means blow out the alpha channel
and replace it with the Bezier's alpha channel.
| | 01:01 | We'll go back to the RGB node.
| | 01:05 | If we turn off the red, green, and
blue channels, now the RGB channels no
| | 01:10 | longer have a Bezier in it, so the
replace doesn't affect the RGB, but it still
| | 01:15 | affects the alpha channel.
| | 01:18 | We'll turn those back on, and
I'll turn off the replace toggle.
| | 01:25 | The next toggle is the invert toggle,
which merely inverts the inside and the
| | 01:29 | outside of the shape's node. What was
transparent is now white, what was white
| | 01:33 | is now transparent, we'll turn that off.
| | 01:37 | Under the Opacity slider is the mask
controls and the mask input is right here
| | 01:43 | on the side of the Bezier node.
| | 01:45 | To see how that works,
we'll need another Bezier node.
| | 01:48 | So, I'll just type P on the keyboard.
| | 01:51 | This Bezier, I'm going to draw
one, two, three points like that.
| | 01:56 | From the original Bezier, I'll pull out the
mask input and connect it to my new Bezier.
| | 02:01 | I don't want my new Bezier anymore,
so I'm going to close him, because we're
| | 02:05 | just looking at this Bezier right here.
| | 02:11 | What's happened is the new Bezier has
masked off the old one. Any mask connected
| | 02:17 | to a Bezier node will mask off the shape.
| | 02:20 | We have a couple of controls for that.
| | 02:22 | We can toggle the effect on and off right
here and we can also invert the effect there.
| | 02:28 | And another tab you want to
know about is the Tracking tab.
| | 02:31 | The Tracking tab is used to link the node
to either transform nodes or motion trackers.
| | 02:37 | In the next movie, we'll see how to
use a Bezier node for masking operations.
| | Collapse this transcript |
| Masking operations in the Bezier node| 00:01 | One of the most important uses for a
shape's node is masking operations.
| | 00:05 | To see this, let's go get Marcie.
| | 00:08 | So, we'll find her of course in our
Lesson_01_Media, and hook her up to the Viewer.
| | 00:17 | Let's get the Viewer a little larger, all right.
| | 00:21 | One of the most common applications is
we want to mask off a color correction,
| | 00:25 | or a blur, or some other kind of a filter.
| | 00:28 | So, first, we put in a Grade node here,
and we're going to draw a Bezier and
| | 00:33 | connect it to the mask input of this Grade node.
| | 00:36 | The first thing we'll do is set the
Grade node for very dark gamma, so
| | 00:40 | we clearly see the effect of what we're doing.
| | 00:44 | In the Node Graph, press P on the
keyboard to add a Bezier node, we'll draw our
| | 00:50 | Bezier with Alt+Command, click, click,
click around her face, then we'll pull out
| | 00:57 | the mask input from the Grade node, and
hook it to the Bezier node, and voila!
| | 01:03 | That gamma correction is now masked to her face.
| | 01:07 | Double-click on the Grade node to put
it to the top of the Property panel, and
| | 01:11 | here is the mask input.
| | 01:13 | We can enable and disable, if you want to
temporarily disable the mask right there.
| | 01:18 | You can also select the invert
button if you want to invert the masks.
| | 01:22 | And you don't have to put invert
nodes in the middle of your Node Graph.
| | 01:26 | We'll turn that back off.
| | 01:29 | One important point,
Marcie is a three channel image.
| | 01:33 | The Bezier is coming in on the mask
input, so if I show you the alpha channel,
| | 01:38 | you can see that the Bezier has
not been added to the alpha channel.
| | 01:42 | That's because it's coming in on the mask input.
| | 01:45 | Now there is another case, where you want
to use the Bezier node to mask off an image.
| | 01:50 | We'll start with a three
channel image like Marcie.
| | 01:54 | So, let's make a copy of Marcie,
Command+C, Command+V, we'll get a new Viewer
| | 02:00 | with Marcie selected, Command+I.
Let's clear the Property bin so I don't see
| | 02:06 | the old Bezier node.
| | 02:08 | Now I want to mask off
Marcie's face, so I'll select Marcie.
| | 02:13 | This time I'm going to type P and
put the Bezier node in line with Marcie.
| | 02:18 | Unlike the mask, we had it off to the side.
| | 02:20 | I'll draw my shape again, Alt+
Command, click, click, click. All right.
| | 02:31 | there's two steps to this.
| | 02:32 | First, turn off the RGB
channels, one, two, three.
| | 02:38 | Second, in the
premultiplied field set that to RGB.
| | 02:44 | We now have a premultiplied image.
| | 02:46 | We have masked off Marcie.
Remember she was a three channel image.
| | 02:52 | But if we look in the alpha channel,
we find that the Bezier has been added
| | 02:56 | to the alpha channel.
| | 02:57 | We now have a three channel premultiplied image.
| | 03:02 | Remember, with the mask input, the
Alpha is not added to the image, but if it's
| | 03:06 | inline like this, it is.
Unless you turn it off, of course.
| | 03:10 | Now we can composite this
over another background.
| | 03:13 | Let's go get a CheckerBoard, we'll put
the CheckerBoard right there, select the
| | 03:18 | Bezier node and just type M on the
keyboard to get a Merge node and hook it up.
| | 03:23 | Aand now Marcie has composited over the
CheckerBoard. Double-click on our Bezier
| | 03:27 | node to put it at the top of the
Property's bin, and I'm going to turn the
| | 03:31 | overlays off by putting my cursor in
the Viewer and type O on the keyboard,
| | 03:35 | because I want to show
you the extra blur feature.
| | 03:38 | Extra blur adds a big soft
fuzzy blur all around your shape.
| | 03:42 | The falloff slider allows you to
adjust the nature of the falloff and
| | 03:47 | the blur type allows you to choose what
kind of algorithm is used to draw the blur.
| | 03:53 | There's a third case I want to show
you, and that's how to mask off a four
| | 03:57 | channel image so we'll scooch this over here.
| | 04:02 | Let's go get a CheckerBoard node,
here we go, and we're going to add a
| | 04:07 | new Viewer with Command+I. Let's
get rid off the Bezier here by clearing
| | 04:13 | the Property panel.
| | 04:14 | I'm going to hit the H
key to fit that into Viewer.
| | 04:19 | And remember, the CheckerBoard is a four
channel image. Here's the alpha channel.
| | 04:24 | There's a slightly different setup if
you want to mask off a four channeled
| | 04:28 | image with the Bezier node.
| | 04:30 | So, we'll select the CheckerBoard,
type P on the keyboard, so the Bezier is
| | 04:35 | inline, draw our shape, two, three,
and again, we'll turn off the RGB
| | 04:43 | channels, red, green and blue, and
we'll turn on the premultiply for RGB
| | 04:49 | exactly like we did for Marcie.
| | 04:51 | I'm going to turnoff the overlays
so we don't look at the wireframe.
| | 04:54 | So, the problem is I still have the
original alpha channel from the CheckerBoard.
| | 05:00 | What I want to do is replace that with
the alpha channel from my Bezier node,
| | 05:05 | and that's done right here, replace.
| | 05:09 | I now have a classic four channel
premultiplied image that I can use for composite.
| | 05:15 | In our next segment, we're going to
take a look at Nuke's unique channel
| | 05:19 | management system, where you can
have up to 1024 separate image channels.
| | Collapse this transcript |
|
|
4. Compositing CGINuke's channel management system| 00:01 | Nuke has a very sophisticated channel
management system, where you can have up
| | 00:05 | to 1024 channels of data.
| | 00:09 | This can be kind of
confusing to newcomers to Nuke.
| | 00:12 | So, we're going to take a very
close look at that in this movie.
| | 00:16 | These channels can be grouped into
layers just like Photoshop. Think of all the
| | 00:20 | layers you have in Photoshop, then you can open up a layer,
and inside there are the channels. Same concept here.
| | 00:27 | The whole purpose of this channel
structure is to allow any node to access any
| | 00:32 | channel anywhere without
running a connection to it.
| | 00:36 | So, in other compositing systems
you've got wires and connectors and
| | 00:39 | noodles running everywhere.
| | 00:41 | In Nuke, you wind up with a
much cleaner compositing script.
| | 00:45 | We'll start by taking a look at
the channel list here in the Viewer.
| | 00:50 | This is where all the
layers and channels are defined.
| | 00:53 | Right now with Nuke just started, we only
have two predefined layers, the rgb and the rgba.
| | 01:00 | Now these other layers over here, they
are predefined in Nuke, but they're not
| | 01:05 | populated with any data yet.
| | 01:07 | So, they kind of sit over here on the side.
| | 01:09 | If you load any data into them,
they'll suddenly move over here into the
| | 01:13 | main channel's list.
| | 01:16 | So, let's see some layers and
channels by adding an image.
| | 01:19 | We go to our Read node, our Nuke
Workshop > Lesson_04_Media, and select
| | 01:28 | the multipass head.exr.
| | 01:30 | Open that, connect it to our Viewer, and
let's get a little more room for our Viewer.
| | 01:38 | This EXR image has several
layers and channels defined in it.
| | 01:43 | When it was loaded into Nuke,
they got added to the list.
| | 01:46 | Here we can see that up here now.
| | 01:48 | Look at the pop-up now contains
an alpha layer, and a masks layer,
| | 01:52 | reflection and specular.
| | 01:53 | We'll take a look at the reflection
layer right there and the specular layer.
| | 02:00 | We'll put it back to rgba.
| | 02:03 | Now in order to see all the different
layers and channels that are defined in
| | 02:07 | the system, we have the layerContactSheet node.
| | 02:12 | So, let's select the Read node,
go to the Merge tab down here,
| | 02:18 | the layerContactSheet node, and see how nice.
| | 02:23 | It displays all the different
layers up on the screen at the same time.
| | 02:26 | Very important is this toggle
button here, the Show layer names.
| | 02:31 | If that's not turned on,
then you won't see the layer names.
| | 02:34 | I'm going to fill the frame with this.
| | 02:38 | This rgba layer is a four channel
image, rgb and a, and I can prove that by
| | 02:44 | showing you the alpha channel.
| | 02:47 | So, there is an alpha channel here, but
none of the other images have an alpha channel.
| | 02:53 | So, you see the specular and the
reflection layers are just three channel images.
| | 02:58 | Now this masks layer here, you
can see the masks right down there.
| | 03:02 | Okay, I'll refit that.
| | 03:04 | This is a layer that's made up
of several arbitrary channels.
| | 03:08 | I'll show you those.
| | 03:10 | In the red channel, we have a Grunge Mask.
| | 03:15 | In the green channel is the Occlusion Pass
and the blue channel has the Shadow Pass.
| | 03:25 | So, these individual channels have
been grouped together and put into a layer
| | 03:28 | called Masks, and now any node anywhere
in the system would be able to use those
| | 03:33 | masks as many times as they want
without running a connection to them.
| | 03:37 | That's the whole point.
| | 03:38 | That's the whole punchline here.
| | 03:40 | I'll fit the Viewer back to normal.
| | 03:43 | To help you visualize this
channel and layer thing, I've made an
| | 03:46 | illustration for you.
| | 03:48 | You don't have this, so I'm
going to just get it for you.
| | 03:50 | I'll hook that up to the second
input in my Viewer. All right.
| | 03:57 | This is a grand overview of how Nuke
has organized the layers and channels for
| | 04:01 | that particular EXR image. I'll zoom in.
| | 04:08 | So, the rgba layer is a four
channeled image, red, green, blue and alpha.
| | 04:15 | But the specular layer had only three
channels and the reflection layer only had three.
| | 04:21 | Then it had a masks layer that had
three channels in it, the Grunge, the Shadow
| | 04:25 | and the Occlusion, but you can go
ahead and add and define as many layers and
| | 04:30 | channels as you want, until you fill
out the 1024 maximum of the system.
| | 04:35 | We're done with our layerContactSheet,
and we'll switch back to our head.
| | 04:46 | Now that we've seen how the image
channels work, in the next movie we'll see how
| | 04:50 | they work in the Viewer.
| | Collapse this transcript |
| The relation of the channels to the viewer| 00:00 | Now it's time to understand the
relationship between the layers and the Viewer.
| | 00:07 | Whichever layer you choose here, will be
loaded into the RGB channels of the Viewer.
| | 00:13 | This list is which channels of
the Viewer are to be displayed.
| | 00:17 | As you know, we can see the red channel.
| | 00:19 | So, we're looking at the red
channel of the Reflection layer.
| | 00:22 | I'll put that back to RGB.
| | 00:25 | Now the rgba layer has four channels
and by default, if Nuke sees four channels
| | 00:32 | it'll automatically put the fourth
channel into the alpha layer of the Viewer.
| | 00:37 | So, this pop-up is which channel will
appear in the alpha channel of the Viewer.
| | 00:43 | So, these are Viewer channels here, and
I go to the alpha channel of the Viewer
| | 00:48 | and there is the alpha channel of the rgba.
| | 00:51 | But I can put anything I want
into the alpha channel of the Viewer.
| | 00:56 | This pop-up here, again, is what to
load into the Viewer alpha channel.
| | 01:01 | I can put the Masks Shadow layer in
there if I wish, or I could put the
| | 01:07 | Reflection Blue layer in the alpha
channel of the Viewer and this has no effect
| | 01:12 | on what's in the RGB channels.
| | 01:16 | So, this pop-up controls what's
in the RGB layers of the Viewer.
| | 01:21 | This pop-up controls what's put into
the alpha channel of the Viewer, and this
| | 01:26 | pop-up controls which Viewer
channels we're going to look at.
| | 01:32 | So, the question is how are
these layers and channels created?
| | 01:35 | How did they get there?
| | 01:36 | Well, there are two ways to do that.
| | 01:38 | The first one we've already seen. They are
predefined and come in with the EXR image.
| | 01:44 | The second method is we can create
and name them ourselves, and that's done
| | 01:48 | right here on the Channels tab, and
these nodes here are all about managing,
| | 01:54 | creating and editing your channels
and layers, and that's exactly what our
| | 01:58 | next movie is all about.
| | 02:00 | In this movie, we got an overview of
Nuke's complex channel management system,
| | 02:05 | and understood that we have 1024
channels that can be grouped into layers and
| | 02:10 | channels any way we like.
| | 02:12 | We also saw the layerContactSheet node
and how it's used to get an overview of
| | 02:16 | all the defined layers in our system.
| | 02:20 | We also saw how layers are loaded into
the RGB channels of Viewer, as well as
| | 02:24 | the individual channels being loaded
into the alpha channel of the Viewer, and
| | 02:29 | how to select those
channels in the Viewer itself.
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| The Shuffle node| 00:01 | In the previous movie, we got a little
introduction to Nuke's layers and channels.
| | 00:05 | In this movie, we're going to learn
how to create and manage those channels.
| | 00:10 | I've made a special set of test
images that will make it much easier to
| | 00:13 | see what's going on. Let's go get them.
| | 00:15 | We'll go to the Read node, to our Nuke
Workshop > Lesson_04_Media > Multilayer Pics.
| | 00:26 | In the depth folder, these are actually clips.
| | 00:29 | The idea is these clips simulate
getting a bunch of sequential TIFF images that
| | 00:33 | you then have to rearrange
the layers and the channels.
| | 00:37 | So, we'll select that one, say Open,
go back to the Read node, go up one layer,
| | 00:45 | go to foo, select them, Open,
back to the Read node, up one layer,
| | 00:53 | forward, select those.
| | 00:56 | Back to Read node, up one RGBA, select those.
| | 01:03 | The Read node, up one, zing, select those.
| | 01:09 | Okay, now let's arrange these nodes
in a particular order. These are here.
| | 01:15 | Okay. RGBA on the left, depth.z,
forward U and V, then zing, and then foo.
| | 01:24 | So, arrange them in
exactly this order here, okay?
| | 01:30 | And we can clear the Property bin,
don't need all those Read nodes.
| | 01:35 | One of the first things I wanted to
show you is Nuke's default behavior
| | 01:39 | when you load in images.
| | 01:40 | Depth.z is a one channel image.
| | 01:44 | Any time you load a one channel image,
Nuke automatically puts it into the red
| | 01:49 | channel of the Viewer.
| | 01:51 | There is nothing in the
green, and nothing in the blue.
| | 01:54 | So, one channel images show
up only in the red channel.
| | 01:57 | Here is a two channel image.
| | 02:01 | Nuke puts the first channel into the
red channel of the Viewer, and the second
| | 02:05 | channel into the green channel of the Viewer.
| | 02:12 | If you have a three or four channel
image, the three channels will go into the
| | 02:16 | RGB, and the four
channels will go into RGBA.
| | 02:21 | Now these are all little short clips,
so that you can see there is animation.
| | 02:24 | We'll go back to Frame 1, but
the whole idea behind these is
| | 02:28 | they're self-documenting.
| | 02:29 | You can easily see exactly what
layer, RGBA, and what channel, red.
| | 02:35 | So, they're self-documenting.
| | 02:37 | This way it will make it much
easier to understand how these layers and
| | 02:41 | channels work, because most of it's
going on behind the curtain, invisible and
| | 02:45 | hard to understand.
| | 02:47 | So, here we've five Read nodes
representing, for example, five sequential
| | 02:52 | TIFF renders, and our mission is to drop
them into the appropriate channels and layers.
| | 02:57 | We'll start with an easy case, the
depth.z. You may recall that depth.z is one
| | 03:04 | of those predefined layers.
| | 03:05 | We can find it right here
under other layers. There it is.
| | 03:10 | So, all we have to do is move the depth
.z data from where it is now into
| | 03:15 | the depth.z channel.
| | 03:17 | And remember, where it is now is
the RGBA layer, the red channel.
| | 03:22 | The way we move layers is with the Shuffle node.
| | 03:26 | We come up to the Channel
tab, select the Shuffle node.
| | 03:31 | You can ignore this part over here.
| | 03:33 | We're only working with Input
number one, and the Output here.
| | 03:36 | I'm going to adjust the window size a
little bit here and the first thing I'll
| | 03:43 | do is set the Output layer
or Output channel I want.
| | 03:46 | Come to this pop-up.
Under other layers, there is depth.
| | 03:51 | Remember, this was predefined.
| | 03:54 | So, the depth layer with the
Z channel is already defined.
| | 03:59 | So, my Input is the RGB layer, which is correct.
| | 04:02 | Remember, the Read node always puts
it in the RGB layer, but only the red
| | 04:07 | channel is going to go out to Z, which
is absolutely correct. So, we're good.
| | 04:13 | We'll take a more sophisticated
example with the forward layer.
| | 04:17 | This has two channels, U and V. I'm going
to clear the Properties bin, select the
| | 04:24 | forward layer, go to the Channel
tab and select another Shuffle node.
| | 04:31 | Again, the forward layer is already defined,
so I can find it in my other layers list.
| | 04:36 | There it is.
| | 04:37 | Turn that on, and the U and V
channels are already defined.
| | 04:42 | The Input is already correct.
| | 04:45 | It's the RGBA layer coming in and
the red and green channels going out.
| | 04:50 | So, the RGBA.red will go to forward.u
and RGBA.green will go to forward.v,
| | 04:56 | and that is correct.
| | 04:58 | If I look here in my Viewer, the red channel
has forward.u and that's what I've got here.
| | 05:05 | RGBA.red is going out to forward.u and
the green channel has forward.v in it.
| | 05:13 | So, the green channel is going out
to forward.v. So, everything is good.
| | 05:19 | So, we've shuffled the data from the
RGB channels into their appropriate
| | 05:23 | destination channels, but they're not yet
been merged together into the same data stream.
| | 05:28 | We'll see how to do that in the next movie.
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| The Copy node| 00:01 | In the previous movie, we defined two
new channel sets, but they weren't grouped
| | 00:05 | together yet into the same data stream.
| | 00:08 | The problem is that these
three guys are all separate.
| | 00:12 | The rgba layer does not know
anything about the depth layer does not know
| | 00:16 | anything about the forward layer.
| | 00:18 | So, what we have to do is integrate
them together into the same data stream.
| | 00:22 | The way we do that is with the Copy node.
| | 00:26 | I'll select the Shuffle node here, come up
to the Channel tab and select the Copy node.
| | 00:33 | Note that it has a quick key, the letter
K. The Copy node I'll hook in here and
| | 00:40 | what this is saying is copy
from the A input to the B input.
| | 00:46 | I want to copy the depth.z channel from
the A side into the depth.z channel of
| | 00:52 | the B side over here.
| | 00:55 | So, the depth.z can join the rgba.
| | 00:58 | I got this error message here.
| | 01:00 | The reason I have the error message is
the Copy node, by default, starts out by
| | 01:04 | copying the alpha channels and there is
no alpha channel in the depth.z layer.
| | 01:10 | So, we don't care about
that little error message.
| | 01:13 | The way to read this is copy this channel
from the A side into this channel of the B side.
| | 01:20 | So, we want a copy from the A side,
the depth.z channel, and we want to copy
| | 01:26 | it to the B side, depth.z. We've now copied
it from this data stream to this data stream.
| | 01:36 | This data stream now contains the
RGB and the depth data. There it is.
| | 01:42 | We also want to bring the Forward
layer over here, again, a Copy node.
| | 01:47 | I'll select the Shuffle node.
| | 01:48 | This time, we'll type K on the keyboard.
| | 01:50 | You're got a quick key,
because you do this a lot in Nuke.
| | 01:53 | Hook it in, again we get our error
message, because it's trying to copy the
| | 01:57 | alpha channel, which does not
exist in this particular case.
| | 02:03 | I want to copy the forward U and V
channels into the new data stream.
| | 02:07 | I could go to the Copy channels and say
copy forward.u and forward.v into the
| | 02:15 | forward.u and forward.v of the B side.
| | 02:17 | I could do that, but I'm
going to take a different tact.
| | 02:21 | Down here is a layer copy.
| | 02:23 | If you've got 2, 3, 4 or more channels
in a layer, you do not want to copy them
| | 02:27 | one channel at a time.
| | 02:30 | So, we'll use the Layer Copy.
| | 02:31 | In this pop-up, I can just choose the
entire forward layer and now all of its
| | 02:38 | channels, no matter how many will
come over and join this data stream.
| | 02:43 | In this data stream, I now have the
rgba, the depth, and now the forward data.
| | 02:50 | The rule is you use the Shuffle node to
rearrange channels within a data stream,
| | 03:01 | and you use the Copy node to
move data between data streams.
| | 03:06 | It's one thing to copy
channels between data streams.
| | 03:09 | It's something else entirely
different to create brand-new channels that
| | 03:12 | didn't exist before.
| | 03:14 | That's what we'll do in the very next movie.
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| Creating new channels| 00:00 | So far, we saw how to load data into
predefined channels in Nuke, but what if
| | 00:05 | they don't already exist.
How do we create our own new channels?
| | 00:09 | To see that, let's start over here.
| | 00:13 | I'm going to go get my Viewer node and
hook it up to this Read node and we'll
| | 00:20 | set the Viewer back to rgba.
| | 00:25 | This Read node represents an
arbitrary one channel image.
| | 00:30 | I could demonstrate that this is a one
channel image by looking in the Viewer at
| | 00:34 | the red channel. The green and
the blue and the alpha are empty.
| | 00:40 | So, this is a one channel image and Nuke has
simply put it in the red channel of the Viewer.
| | 00:47 | What I need to do is create a new
channel called zing and move this into it.
| | 00:52 | To create a new channel, you come up
here to the Viewer pop-up and select New.
| | 01:01 | A channel cannot exist by itself;
a channel must be part of a layer.
| | 01:05 | So, the first thing we
have to do is name the layer.
| | 01:08 | We're going to call the layer zing.
| | 01:10 | Hit the Tab key and call
the channel zing, say OK.
| | 01:16 | I now have a new layer and channel called zing.
| | 01:19 | Now this is what you might do if
you had, for example, a one channel
| | 01:22 | rotoscope to bring in.
| | 01:26 | Next, I need to shuffle this into
the zing layer, because right now, it's
| | 01:30 | sitting in the RGB layer.
| | 01:32 | So, I'll select the Read node,
come up here and get a Shuffle node.
| | 01:38 | For the output side, there is my new
zing layer and it has the zing channel.
| | 01:45 | So, this is saying, now, input number one,
the rgba layer, red channel, will now
| | 01:51 | go to the zing layer, zing channel,
which is exactly what I wanted.
| | 01:54 | Let's take a more sophisticated example.
| | 01:58 | Here is the Foo layer. Oops! Got to set my
Viewer to look at the rgba, because don't forget,
| | 02:04 | in the Read node, the data
all comes in on the rgba channel.
| | 02:09 | This represents an arbitrary four channel
image, not necessarily red, green and blue data.
| | 02:15 | This could be, for example, four separate
holdout mattes all put together into one TIFF file.
| | 02:22 | So, we're going to create a foo layer
and design four channels for it,
| | 02:29 | one channel, a, b, c and d. So,
we'll come up to the Viewer pop-up.
| | 02:40 | We'll say New. I'll move this down here.
| | 02:42 | Our new layer name will be foo, Tab,
the first channel will be A, Tab, the next
| | 02:49 | channel will be B, oops! Nuke is helping.
| | 02:52 | There is a channel called backward.u.
It thinks that's what we might be typing.
| | 02:57 | It wants to help. Just hit the
Delete key to make that go away.
| | 03:00 | Hit Tab, type C, Tab, D. Again,
trying to help, hit the Delete key.
| | 03:09 | We've now defined a layer named New
with channels A, B, C and D. We'll say OK.
| | 03:17 | The new layer is defined in Nuke,
but our foo data is not yet in it.
| | 03:21 | To do that, we're going to need a Shuffle node.
| | 03:23 | Let's clear the Properties bin, go up
to the Channel tab, get a Shuffle node,
| | 03:30 | hook it into our foo, go to the
output side, pop-up, other layers.
| | 03:38 | There is foo, select that, and
there's our channels, A, B, C, D.
| | 03:44 | We're now mapping, the rgba layer, red, green,
blue, and alpha channels to the foo, A, B,
| | 03:50 | C and D channels, which
is exactly what we wanted.
| | 03:54 | The last step is to use a Copy node to merge
them with the main data stream. We'll do that.
| | 03:59 | I'm going to move my Viewer over here.
| | 04:04 | I'll select the Shuffle node. Type
K on the keyboard to get a Copy node.
| | 04:10 | Then move the new Copy
node down here, hook it in.
| | 04:13 | Again, I get the error message, but
this time, zing is a one channel image so I
| | 04:18 | can use the Copy channel.
| | 04:19 | From the A side I want a copy, zing.zing, and
route it to the B side channel of zing.zing.
| | 04:30 | Last, we'll bring over the foo layer.
| | 04:32 | I'll select the Shuffle node, type K on the
keyboard to get a Copy Node, hook that in.
| | 04:42 | I do not want to copy the alpha channel.
| | 04:44 | So, I'm going to set this to none and none.
| | 04:47 | I want to copy the entire layer of foo.
| | 04:50 | So, I'll come over here to
this pop-up. Select foo.
| | 04:54 | I've now copied foo from here
over to the main data stream.
| | 04:59 | Now in this data stream here, I now have all
of the channels and layers. There is my rgba.
| | 05:07 | There is the depth.z. There is
the forward and there is foo.
| | 05:18 | In this data stream now, any node can
access any one of those layers or channels.
| | 05:26 | In this movie, we saw how to
create channels and layers.
| | 05:30 | In the next movie, we'll see how to
access those channels and layers with the nodes.
| | Collapse this transcript |
| Processing channels| 00:01 | Once we've created our channels and
layers, we still have to access them with
| | 00:04 | nodes so we can process them.
| | 00:07 | To show you how that works, let me make
a little space here, move this down, and
| | 00:12 | let's clear the Properties bin.
| | 00:13 | We'll select the last Copy node and add
a Blur node by typing B on the keyboard.
| | 00:22 | In the Viewer, I'm going
to put the forward layer.
| | 00:25 | In the Blur node, we'll select the forward
layer and assign a nice blur to the forward layer.
| | 00:35 | What I've just done is applied a blur
to the forward layer and nothing else in
| | 00:39 | that data stream. If we
check the rgba layer, unaffected.
| | 00:44 | Check the foo layer, nothing is
happening. Only the forward layer has the blur.
| | 00:49 | Let's try another one.
| | 00:51 | We'll add a Grade node.
| | 00:55 | In the Viewer, I'm going to select
the doo layer and in the Grade node, I'm
| | 01:00 | going to select the foo layer.
| | 01:03 | Let's just turn the gain way
down, make it nice and dark.
| | 01:08 | Now if we check the rgba layer,
unaffected. If we checked the forward layer, no change,
| | 01:14 | but the foo layer has
been darkened by the Grade Node.
| | 01:21 | So, now you can stick any node in
this data stream and you will not have
| | 01:25 | it connected with arrows or wires or
noodles to any of the other nodes in the system.
| | 01:31 | This is the whole point of the channel system.
| | 01:34 | It makes for much cleaner flow graphs in Nuke.
| | 01:38 | The downside is the Node Graph is a
little more folded up and hidden away.
| | 01:43 | There is more stuff happening behind the black
curtain than there is in other systems. Don't go away yet.
| | 01:50 | There's still two more channel
management nodes you need to know about.
| | Collapse this transcript |
| The ShuffleCopy node| 00:01 | There's two more very important nodes
to know about, that's the ShuffleCopy
| | 00:05 | and the Channel Merge. Let's take a look.
| | 00:08 | I'll scoot over here.
| | 00:09 | I'm going to deselect off to the side,
make sure I have nobody selected, up to
| | 00:14 | the Channel tab and select the ShuffleCopy node.
| | 00:17 | We've seen the Shuffle node, we've
seen the Copy node, and now we're going to
| | 00:22 | take a look at the ShuffleCopy,
which combines both operations into one.
| | 00:27 | Here is input number one, which
I'm going to hook up to the rgba node.
| | 00:32 | Here is input number two, which
I'm hooking up to the foo node.
| | 00:36 | Keep in mind, at this juncture,
the data is still in the rgba channel.
| | 00:41 | What we're going to do with this
node is combine the Shuffle and the Copy
| | 00:46 | operations in one node.
| | 00:51 | Input number one is the rgba layer and we want
to leave that, the rgba layer, coming out. Oo!
| | 00:56 | Let me move my Viewer up here. There. Okay.
| | 01:05 | So, up here input number one is
going to be rgba in and rgba out to the
| | 01:11 | red, green and blue.
| | 01:14 | It's input number two that I want to
shuffle. The foo A, B, C, D data is coming
| | 01:20 | in on the rgba channels.
| | 01:22 | So, I want to reroute that here,
input number two, from rgba to foo.
| | 01:28 | Remember, foo has already been defined.
| | 01:31 | So, on the output here, other layers,
I will select foo, and there is my A, B, C, D.
| | 01:37 | This now has the rgba input number
two, wired red, green, blue and alpha
| | 01:43 | out to foo A, B, C, D.
| | 01:47 | So, input one is going to come
in on rgba and come out on rgba.
| | 01:52 | Input number two is going to
come in on rgba and go out on foo.
| | 01:59 | Now we look in the Viewer, in the rgba
channels, we have this, and in the foo
| | 02:05 | layer, we have that.
| | 02:08 | The problem is the ShuffleCopy
can be a little hard on your head.
| | 02:11 | You've got this dual matrix.
| | 02:13 | It's like a patch panel
that you can cross-wire things.
| | 02:17 | So, it can be a little bit hard on your head.
| | 02:20 | When you first start out, it might be
easier to use a Shuffle node followed by a
| | 02:24 | Copy node, rather than
trying to do the ShuffleCopy node.
| | 02:28 | When compositing visual effects we
frequently need to merge two one-channel
| | 02:32 | images, like two masks.
| | 02:35 | Nuke has a special node just
for that, the ChannelMerge node.
| | 02:39 | We'll take a look at that in our next movie.
| | Collapse this transcript |
| The ChannelMerge node| 00:00 | Okay, we'll clear the Properties bin
to take a look at the ChannelMerge node.
| | 00:05 | Again, deselect off to the side.
Channel tab > ChannelMerge.
| | 00:11 | The basic intent behind the ChannelMerge
node is to merge two alpha channels into one.
| | 00:16 | So, we'll hook the A side to the rgba
here and the B side up to the foo there.
| | 00:23 | I'm going to switch my Viewer over to this guy.
| | 00:28 | Up in our Viewer, we're
going to look at the rgba output.
| | 00:33 | So, here is the default setup for the node.
| | 00:36 | Take the alpha channel from the A side,
and the alpha channel from the B side,
| | 00:41 | and put the union of the two on the output.
| | 00:45 | You may choose a different operation
here if you don't want the union, but
| | 00:49 | the bottom line is that's the basic intent.
| | 00:52 | If we switch the Viewer to the alpha channel,
we will see the union of the foo and the rgba.
| | 01:00 | You'll recall the foo layer had A, B,
C, D. So, the D data is in the alpha
| | 01:06 | channel of foo and the rgba
alpha is in the alpha channel there.
| | 01:10 | Of course, you don't have to use
just alpha channels. On the A side, for
| | 01:15 | example, we could have selected the
rgba green channel to be the union of the
| | 01:21 | rgba alpha channel on the B side.
| | 01:25 | So, in this movie, we've got a very
close look at how to manage, control and
| | 01:29 | create our channels and layers in Nuke.
| | 01:32 | We saw the Shuffle node is used to
shuffle channels within a data stream and
| | 01:36 | the Copy node is used to
move it between data streams.
| | 01:40 | We also saw how to create our own new
layers and give them any name we want.
| | 01:45 | We also saw the Blur and the Grade
node being selected to operate on just one
| | 01:49 | layer inside the data stream.
| | 01:52 | We also saw how the ShuffleCopy node
combines the Shuffle and Copy operations in
| | 01:57 | one node albeit a little
complicated to work with.
| | 02:02 | The ChannelMerge node is used to
combine two alpha channels into one, or
| | 02:06 | frankly, any two individual
channels, doesn't have to be the alpha.
| | Collapse this transcript |
| Compositing CGI| 00:01 | Now, we're going to take a look
at how to composite CGI and Nuke.
| | 00:04 | Our first case is compositing
multi-pass layers that were rendered as
| | 00:09 | separate TIFF files.
| | 00:11 | We will not be using channels.
| | 00:12 | We're going to do this as a straight
ahead Multi-Pass CGI Composite.
| | 00:17 | All right, let's go get our pictures.
| | 00:19 | We'll go to the Read node, our Workshop
> Lesson_04_Media > MultiPass_CGI folder
| | 00:29 | and then we'll pick all the
files in the folder and say Open.
| | 00:37 | We'll hit the F key to center them in
the Viewer and now I'm going to relay out
| | 00:41 | Nuke's interface so we get
a better look at the shot.
| | 00:44 | We'll go up here to the Properties
bin and this little black X completely
| | 00:47 | closes the Properties bin.
| | 00:48 | On this little pane tab here, a pop-up,
and I'm going to say I want my Node
| | 00:54 | Graph to be up here.
| | 00:56 | I'll hit the F key to center
my nodes in the Node Graph.
| | 01:00 | I won't be needing the Curve
Editor, so I'm going to close him.
| | 01:04 | But I do want the Property bin.
| | 01:05 | So, I'll go to the Pane pop-up and say, give
me a Property bin over here, please. Thank you!
| | 01:13 | A little more window. I won't be
needing any of the controls down here in
| | 01:18 | the Viewer, so to give me a little
more window space, I'm going to close
| | 01:22 | this one and fold up this one and fold up
that one. Didn't know you could do that, did you?
| | 01:27 | I won't be needing these controls up
here, so I'll fold that one up, but
| | 01:31 | I will be needing these.
| | 01:32 | So, I'm going to leave those where they are.
| | 01:34 | Now, let's set up our basic composite.
| | 01:36 | I'm going to set the specular up here
and get the reflection there,and the
| | 01:42 | occlusion, the matte, the grunge, my
diffuse pass up there, the background over here.
| | 01:48 | So, let's get things kind of
organized, maybe like this. Okay, all right.
| | 02:05 | The Diffuse pass is now connected to
the Viewer and I'm going to hit H on the
| | 02:09 | keyboard to fill the Viewer with it.
| | 02:12 | Maybe I'll make my
Viewer a little smaller there.
| | 02:15 | The first step is we want to do a add,
a plus, a sum of the specular layer
| | 02:20 | with the diffuse layer.
| | 02:22 | So, to do that, we're
going to need a Merge node.
| | 02:25 | We'll select the specular layer, type
M on the keyboard to get a Merge node,
| | 02:29 | slide it over and hook it in.
| | 02:32 | First of all, I need to set the Merge
node for plus, so the operation instead of
| | 02:36 | being over, I want plus, because I
want to add the diffuse to the specular.
| | 02:42 | On the A side, the specular is
coming in on the RGB channels.
| | 02:47 | Don't forget. These are all separate
TIFF files and they are not in channels.
| | 02:52 | So, the specular is coming in on
the rgba channel on the A side.
| | 02:57 | So, I want the A channels plus the B
channels, and that gives me right here,
| | 03:03 | the sum of diffuse plus specular.
| | 03:07 | I can toggle that node on and
off to see the effect right there.
| | 03:11 | Next, I want to add the
reflection layer to this.
| | 03:14 | So, I'll select the reflection layer,
add a Merge node, hook it in, set the
| | 03:19 | Merge node for plus, and the A and B
channels are both set for RGB, which is
| | 03:26 | exactly what I want.
| | 03:28 | Next is the occlusion pass.
| | 03:30 | For this, I want to multiply the
occlusion pass times my rgba channels.
| | 03:36 | So, we'll put in another Merge node.
| | 03:40 | Set the Merge node operation for
multiply and now I can see the effect of that
| | 03:46 | by toggling that on and off.
| | 03:47 | I can see yes, indeed.
| | 03:49 | My occlusion layer is, in fact,
multiplying the RGB layer.
| | 03:53 | Same thing for the shadow. Select the
shadow, add a Merge node, hook it in.
| | 03:58 | Switch the operation to multiply. There we are.
| | 04:04 | And again, I can toggle that on and
often see the effect of the shadow
| | 04:06 | multiplying the image.
| | 04:09 | The grunge layer is a four-channel image.
| | 04:12 | We can take a look at that here, rgba, alpha.
| | 04:17 | It looks kind of dark, but
we can see there is stuff there.
| | 04:22 | If I unfold the Viewer and crank up the
gamma, yup, there is picture in there.
| | 04:26 | Okay, I'll fold that away,
back to our main composite.
| | 04:32 | So, the grunge layer is going to be another merge
operation, but it will be an over operation. So, we'll do that.
| | 04:39 | There is our grunge.
| | 04:41 | Okay, the last is our matte.
| | 04:43 | Now our matte in not in the alpha channel.
| | 04:45 | In fact, it's in the RGB channels.
| | 04:49 | In fact, it's just in the
red channel of the RGB layer.
| | 04:53 | So, we're going to have to get him into
the main data stream using a Copy node.
| | 04:57 | I'll select the matte, type K to get a
Copy node, hook him in. There we go.
| | 05:05 | Now, we have an arrow.
| | 05:07 | The reason is, remember, the
matte is coming in on the A side.
| | 05:10 | On the A side, there is no alpha channel.
| | 05:13 | The matte is in the red channel.
| | 05:15 | So, I'm going to pop this open and say,
give me the rgba red on the A side and
| | 05:20 | put it into the alpha channel on
the B side, and now we are happy.
| | 05:25 | Now, we can look in the alpha channel
and say yes, indeed, I have a matte there.
| | 05:28 | If I look up here, there is no alpha channel.
| | 05:34 | There is the grunge layer.
| | 05:35 | If I look up here, there
is nothing in alpha channel.
| | 05:42 | So, in this merge operation, my
grunge layer came in, but in this copy
| | 05:46 | operation, it blew it out and
completely replaced it by the matte.
| | 05:51 | Okay, we're ready to
composite this over the background.
| | 05:53 | We'll set the Viewer back to RGB,
add a Merge node, and hook it up to the
| | 05:59 | background and see what we got.
| | 06:03 | Once we have everything set up,
hooked in and working properly, now we can
| | 06:07 | go dial it in.
| | Collapse this transcript |
| Adjusting the multi-pass composite| 00:01 | Now that the comp is all set up, we
can start adjusting the various layers.
| | 00:05 | As you saw before, we can use the D
key to enable and disable any node to see
| | 00:10 | its contribution to the overall look.
| | 00:14 | We're going to find this to be a
very helpful technique for diagnosing
| | 00:16 | and troubleshooting.
| | 00:19 | Let's start by dialing in the grunge.
| | 00:21 | Double-click on the Merge node and I'm
going to slide the mix slider to tone it down,
| | 00:27 | so we have just a little bit of grunge.
| | 00:31 | Now let's say we want to
adjust the specular layer.
| | 00:33 | We'd like it to be a little less intense.
| | 00:36 | We can see the contribution of
the specular layer right here.
| | 00:38 | So, I'll select the specular
layer and add a Grade node to it.
| | 00:43 | I'm going to set the gain to 0.3 and
that considerably darkens down the specular
| | 00:51 | layer, but I'd like it to
have a little more red highlight.
| | 00:54 | So, I'm going to make the red
channel a little hotter. There.
| | 00:58 | Now I have got a much more coppery red tint.
| | 01:01 | I can see the influence of the Grade
node by disabling it on and off and see
| | 01:07 | the contribution of the entire layer
to the main picture by toggling the
| | 01:11 | Merge node on and off.
| | 01:14 | Now let's look at the
occlusion and shadow layers.
| | 01:16 | Let's say I'd like to
increase the influence of the shadow.
| | 01:19 | I want the shadows to be more dense.
| | 01:21 | So, I want to add a Grade node to the
shadow and I'm going to drop the gamma down.
| | 01:30 | That makes the shadow more intense.
| | 01:32 | Again, I'll toggle the Grade node on
and off to see the effect of my adjustment
| | 01:36 | and then toggle the Merge node on and
off to see the contribution of the shadow
| | 01:39 | to the entire picture. Okay.
| | 01:42 | That's what I'm looking for. We're good.
| | 01:43 | So, there is my basic composite and of
course, if I want to add a Grade node to
| | 01:48 | adjust the background, that's fine
and then to the overall composite, add
| | 01:52 | another Grade node to adjust it overall.
| | 01:56 | So, this represents the workflow we
would use if we were given a multi-pass CGI render,
| | 02:00 | but every layer was in a separate file.
| | 02:05 | But what do we do if the
passes are not in separate files?
| | 02:08 | In the case of an EXR image, all the
passes are together in one single EXR file.
| | 02:13 | We'll see how to handle that in the next movie.
| | Collapse this transcript |
| Compositing a multichannel element in an EXR file| 00:00 | I'm going to clear Nuke, which will
preserve the layout of my interface to show
| | 00:03 | you the next situation, which is we're
compositing a multilayer element that is
| | 00:09 | already in one single EXR file.
| | 00:12 | All the layers are defined and now
we're going to have to use our channel
| | 00:15 | operations to make that work.
| | 00:18 | To do that, we're going to need our
multipass head, go to the Read node, select
| | 00:23 | the multipass head.exr file, say OK.
| | 00:28 | We'll hook that up to the Viewer and
Nuke has reset the windows for the Viewer,
| | 00:32 | so let's turn those guys off
again to clear some more space.
| | 00:37 | Again, we'll keep this one up
here and we'll fill the Viewer.
| | 00:42 | Now you may recall that this EXR file
already has a whole bunch of layers built
| | 00:47 | into it, the masks layer, the
reflection layer, the specular layer.
| | 00:52 | So, this will be the classic
workflow for a multilayer EXR file.
| | 00:57 | The first thing we want to do is to sum or
add the reflection layer to the diffuse layer.
| | 01:03 | Now the diffuse layer is already in the
RGB channels of our Read node right here.
| | 01:08 | So, what we really want to do is to sum
the rgba channels with the reflection layer.
| | 01:15 | To do that, we'll add a Merge node.
| | 01:17 | Now here's the first interesting bit.
| | 01:21 | Since all of the channels I want are in
this one Read node, I have to hook the B
| | 01:25 | side up to the same node as the A
side, because all the data is here.
| | 01:31 | The A side is going to be the rgba,
which has my diffuse, and the B side is
| | 01:35 | going to be my reflection layer.
| | 01:39 | Then the operation will be plus and
there we have it. We've just summed--
| | 01:44 | I'll show you that.
| | 01:45 | I'll toggle on and off.
| | 01:47 | We've just summed the diffuse
layer with the reflection layer.
| | 01:50 | I'm going to leave the other layers
for you to work up in the exercise.
| | 01:56 | Now, the next issue is how do we
get that occlusion layer and use it to
| | 02:00 | multiply the RGB layer?
| | 02:03 | In the previous example, we applied
the occlusion layer with a multiply
| | 02:07 | operation in the Merge node.
| | 02:09 | We could do that, because the
occlusion layer and the RGB layer were both
| | 02:12 | three-channel images that
we could multiply together.
| | 02:16 | In this case, the occlusion layer is now
a one-channel image in the masks layer.
| | 02:21 | So, we need to use a different
operation that will allow us to mask it off
| | 02:24 | with that one channel.
| | 02:26 | So, we're going to use the Multiply node.
| | 02:28 | We'll select the Merge node, come over
to the Color tab, then the Math and let's
| | 02:34 | select a Multiply node.
| | 02:39 | In this Multiply node, we're going to
say multiply the RGB channels to zero, but
| | 02:45 | we're going to mask those
off with the occlusion layer.
| | 02:50 | But the polarity of the occlusion
layer is backwards, so I'm simply going to
| | 02:55 | invert the occlusion
layer, and there we have it.
| | 02:59 | We can see the effect by
toggling the Multiply node on and off.
| | 03:03 | There is my occlusion.
| | 03:04 | Of course, we'll leave the other
passes for you to work up in the exercise.
| | 03:11 | Now let's take a look at how we would apply
color grading operations to this workflow.
| | 03:17 | Since the reflection pass is merged
right here, we're going to have to do a
| | 03:22 | color grade of the
reflection pass above this node.
| | 03:25 | So, I'll select the Read node, add a Grade node.
| | 03:31 | I'm going to tell the Grade node that I
want to talk to the reflection pass and
| | 03:38 | then I can set the gain down or give it
that red tint, same as we did last time.
| | 03:51 | Again, we can see the effect of the
Grade mode by disabling it and enabling it.
| | 03:56 | Now let's say I want to adjust
the density of the occlusion layer.
| | 04:03 | To adjust the occlusion layer,
I'm going to have to put the operation
| | 04:07 | somewhere upstream of it.
| | 04:09 | It could be up here or up here,
anywhere I want, but I'm going to put it right
| | 04:14 | there, just above it.
Makes it easier to troubleshoot.
| | 04:18 | We'll set the Grade node to
talk to just the occlusion layer.
| | 04:23 | The settings for the Grade node
will be to set the channels for the
| | 04:26 | masks occlusion layer.
| | 04:28 | I'll turn off grunge and shadow.
| | 04:30 | Then I'll turn the gamma down.
| | 04:33 | You can see that that's now
adjusting the density of my occlusion layer.
| | 04:39 | One more case, let's say we want to
mask off our color correction operation
| | 04:43 | somewhere in this dataflow.
| | 04:45 | How would we do that?
| | 04:45 | We'll come up here to our Head.
| | 04:48 | Oh, by the way, this Grade node is only
hooked into the B side, which is fine,
| | 04:55 | because we wanted a Grade at the
reflection pass, which happened to be on the B side,
| | 04:59 | so no problem there.
| | 05:01 | But here I am going to add a Grade
node and now it's going to hook into
| | 05:04 | the entire data stream.
| | 05:06 | We'll add a Bezier.
| | 05:09 | I'll zoom in here a little bit.
| | 05:11 | We'll draw our shape.
| | 05:12 | I'm going to add a highlight to
his head, pull out a nice soft edge.
| | 05:23 | Then we'll hook that to the mask input
of this Grade node and then we'll tell
| | 05:28 | the Grade node to only work on the RGB channels.
| | 05:31 | Remember, at this point,
the diffuse layer is on the RGB channel.
| | 05:36 | So, now we can dial in a gain.
| | 05:41 | I can fold at the Bezier node so
the on-screen controls go away.
| | 05:45 | Now, we have a little
highlight that we've added to the hair.
| | 05:48 | Now we're ready to composite this over the
background, so we better go get a background.
| | 05:55 | So, we'll come over to the Read node, go into
the MultiPass_CGI, and select the background.
| | 06:02 | We're going to use the same
background from that clip.
| | 06:06 | Bring that down here.
| | 06:10 | We're going to merge.
| | 06:11 | We're going to merge this
over the background. Oops!
| | 06:18 | Something is wrong.
| | 06:21 | My composite is semitransparent.
| | 06:22 | There is something amiss with the alpha channel.
| | 06:24 | Well, let's go take a look in the Viewer.
| | 06:27 | Let's set the Viewer to the
alpha channel and go. Whoops!
| | 06:31 | That's not how my alpha
channel is supposed to look.
| | 06:35 | So, we're going to start a
little diagnostic trip here.
| | 06:37 | We'll select the original Read node,
hook the Viewer to it by typing 1.
| | 06:41 | So, I'm now looking at the alpha
channel and I'm saying, okay, the alpha
| | 06:44 | channel is okay here.
| | 06:46 | Let's check down here.
| | 06:47 | Type 1, okay, it's all
right there. It's okay here.
| | 06:52 | Oops! There is where the problem is.
| | 06:55 | This multiply operation
hammered my alpha channel.
| | 06:59 | So, double-click on the Multiply
node and here's my problem right here.
| | 07:04 | I told it to multiply the occlusion pass
times all of the channels and I didn't want that.
| | 07:09 | I only wanted to multiply the RGB channels.
| | 07:13 | So, we'll go to the pop-up and say
only do this to the RGB channels, and
| | 07:19 | my alpha channel is all healed. I'll check my RGB.
| | 07:23 | Yes, everything looks
correct. Turn that back on.
| | 07:27 | I'll go back to my composite
and now everything is hunky-dory.
| | 07:31 | Check the alpha channel.
Good, solid alpha.
| | 07:35 | Before we go any further, there is a
very important rule you need to know
| | 07:38 | about the Merge node.
| | 07:40 | We'll take a look at that next.
| | Collapse this transcript |
| The B-side paradigm| 00:00 | There is a very important topic I need
to tell you about, about the behavior of
| | 00:04 | Nuke and the channels and the Merge node.
| | 00:07 | I call it the B side paradigm.
| | 00:11 | The rule in Nuke is only the channels
that are coming in on the B side of the
| | 00:16 | Input node are going to be passed through.
| | 00:19 | All those channels coming in on the A
side will be blocked. Let me show you.
| | 00:24 | I'm going to hook the Viewer directly to
the background. Come up here and we can
| | 00:31 | see that it has nothing but an rgba channel.
| | 00:35 | Then I'll hook the Viewer over here
and as you can see, we have lots of
| | 00:40 | channels and layers.
| | 00:42 | So, they never made it past the Merge node.
| | 00:44 | If I go to the Merge node, all we see are
the original RGB channels from the background.
| | 00:51 | The alpha channel has been added because
it inherited that from the Merge operation.
| | 00:57 | But all those other channels that
we saw in this data stream are gone.
| | 01:03 | You must remember this, because you
will frequently encounter a problem where
| | 01:08 | you know the channel exists, but it has
disappeared. Well, you'll find that it
| | 01:13 | died right here on the A
side input of the Merge node.
| | 01:17 | There are other dual Input nodes in
Nuke and they all behave the same way.
| | 01:22 | We'll set this back for the normal RGB view.
| | 01:27 | If you have channel data on the A side
of the Merge node that you want to pass
| | 01:31 | through and survive, you're going to
have to use a Copy node to copy it over.
| | 01:37 | You can copy it over either before or
after the Merge node, either one will work.
| | 01:43 | In this movie, we saw the workflow
for compositing multiPass CGI renders.
| | 01:48 | In the first case, we had separate
TIFF files and we never put them into
| | 01:52 | separate channels and layers.
| | 01:54 | In the second case, we saw the workflow
for compositing with EXR files where you
| | 01:59 | have a multilayered image.
| | 02:03 | We also saw how to merge and adjust the
different layers together including how
| | 02:07 | to use a mask to adjust any one of
the layers we want with a Grade node.
| | Collapse this transcript |
| Setting up a motion tracker| 00:01 | Of course, Nuke has a
very capable motion tracker.
| | 00:04 | The interesting thing is the motion
tracking node has only four trackers in it.
| | 00:08 | If you need 27 trackers, you're
going to have to use multiple nodes.
| | 00:12 | However, they're easy to link with
expressions and you can do filtering and
| | 00:16 | averaging of the tracker curve.
| | 00:17 | So, it's really not a problem at all.
| | 00:20 | To see how it works, let's go get some pictures.
| | 00:22 | We'll go to the Read node, our
Workshop, Lesson_04_Media, Lab Guy folder.
| | 00:31 | Here are 100 TIF frames.
| | 00:33 | Bring those in, hook it up to the Viewer.
| | 00:38 | Select the Read node, come to the
Transform tab, and select a Tracker node.
| | 00:45 | A little more screen space for our
Viewer and a little more room for
| | 00:51 | the Property panel.
| | 00:53 | We don't need this Read node anymore.
| | 00:56 | We can see all four of Nuke's trackers.
| | 00:58 | If I turn them on, here's 2, 3 and 4 and
I'll turn the Viewer gain down so that
| | 01:04 | you can see them right here.
| | 01:05 | We can disable them by turning them off,
4, 3, 2. We'll leave Tracker 1 enabled
| | 01:11 | and set the Viewer gain back.
| | 01:15 | To position a tracker, simply click
-and-drag it on top of the target.
| | 01:19 | Of course, you can also adjust the
tracker's Pattern and Search boxes.
| | 01:25 | You can adjust the size and the shape.
| | 01:27 | Pull on these little ears out here
for the width, and there for the height.
| | 01:31 | Here in the corner,
you can adjust both together.
| | 01:34 | Either one. You can also reset the
tracker shape and size by clicking on
| | 01:40 | the Reset button here. All right!
| | 01:44 | We'll zoom out and fit the Viewer.
| | 01:47 | My trackers all set on the target.
To track the shot, all I have to do is come
| | 01:51 | up here to the tracking controls and say
track forward for the whole length of the shot.
| | 01:58 | Done!
| | 01:59 | You'll notice that the frame
didn't update with every frame.
| | 02:02 | We're going to fix that in just a minute.
| | 02:05 | But first, I wanted to show you how
the overlay works with the Tracker node.
| | 02:10 | The overlay now has three states.
| | 02:12 | Press O on the keyboard and
the tracking data will disappear.
| | 02:16 | Press O again and the
tracking marker will disappear.
| | 02:19 | Press O again and they both come back.
| | 02:23 | We'll zoom out and fit the window.
| | 02:25 | Now we're ready to add another tracker.
| | 02:28 | The normal workflow is you get one
good tracker done and then you disable it.
| | 02:33 | This is kind of a write-protect, so
you don't accidentally overwrite it.
| | 02:37 | Then turn on the next tracker.
| | 02:40 | Let's say we want to track
this little guy over here.
| | 02:43 | But first, make sure you go
back to the start of the clip.
| | 02:47 | That's one of my favorite mistakes is
to forget to pre-position the playhead.
| | 02:51 | So, we'll put the tracker right where it
belongs here at the beginning of the frame.
| | 02:55 | Now this time, I want to see the screen
update with every frame while it's tracking.
| | 03:00 | To do that, we're going to
turn on the Update Viewer option.
| | 03:04 | Then we will track forward.
| | 03:11 | Now the screen updates with every frame.
| | 03:12 | Of course, this is not a good
idea if you're tracking 4k plates.
| | 03:18 | You can actually edit the
tracking data with these onscreen points.
| | 03:21 | We'll zoom in here.
| | 03:24 | First, drag the playhead
to the frame in question.
| | 03:27 | Let's say this frame has some bad data.
| | 03:31 | Just click-and-drag and you can
edit the data right on screen.
| | 03:36 | Use the arrow keys to go to the next frame.
Click-and-drag to edit that point too.
| | 03:43 | We'll zoom out and refit the Viewer.
| | 03:46 | Over here is the Clear All button.
| | 03:48 | What it does is it clears all the
data for every tracker that's enabled.
| | 03:54 | Right now, only Tracker 2 is enabled.
| | 03:56 | So, I'll click Clear All and
Tracker 2 is completely wiped out.
| | 04:01 | There's no more tracking data in Tracker 2.
| | 04:05 | We'll turn off Tracker 2 and enable
Tracker 1 to take a look at the Clear
| | 04:09 | Forward and Clear Backward buttons.
| | 04:12 | Let's say I have the playhead here on frame 20.
| | 04:17 | If I click on Clear Backward, every
enabled tracker will be cleared from that
| | 04:21 | point to the beginning of the shot.
| | 04:23 | Click, gone. Well, now I'll position
the playhead here at frame 70 and the
| | 04:31 | Clear Forward button will eliminate all the
data from that point to the end of the shot.
| | 04:36 | You can also do motion tracking one
frame at a time if you wish with the single
| | 04:40 | frame button right here.
| | 04:44 | You can also do the tracking on just a
selected range of frames, by doing the
| | 04:48 | range forward button here.
| | 04:51 | It assumes the range you want to track
starts from the current frame you're on
| | 04:54 | to the end of the shot.
| | 04:55 | But let's say we want to go to frame 90.
| | 04:57 | So, I'll change that and say OK, and it
tracks from there to frame 90 and stops.
| | 05:03 | The track backward buttons are right here.
| | 05:07 | This will single-step backward.
| | 05:09 | This will track backward to the
beginning and this is your range
| | 05:12 | tracking backwards.
| | Collapse this transcript |
| Offset tracking| 00:00 | Sometimes, however, our
tracking target is covered up.
| | 00:04 | Now, let's take a look at offset tracking.
| | 00:07 | We'll go back to the beginning of the
shot and let's say we needed to track on
| | 00:10 | this corner right here.
| | 00:12 | When I play the clip, we can see that our
target is covered up for most of the shot.
| | 00:20 | So, this is a prime case for offset tracking.
| | 00:23 | We'll go back to the beginning of the shot.
| | 00:27 | I'm going to use Tracker 2 for this.
| | 00:30 | I'll turn off Tracker 1, enable
Tracker 2, position him on the target.
| | 00:39 | We'll track forward until the
tracker arrow is out. There we go!
| | 00:42 | Now, I'm going to back up
until I find my last good frame.
| | 00:46 | It looks like that was my last good frame.
| | 00:51 | I want to clear the data forward so
I don't have any bad data, so I will
| | 00:56 | select clear forward.
| | 00:58 | Now to offset this tracker,
put my cursor on the tracker.
| | 01:03 | Hold down the Command key, click-
and-drag to the offset location here.
| | 01:09 | Now I can continue tracking
from there to the end of the shot.
| | 01:12 | Now my target does reappear.
| | 01:16 | So, I would like to back up and re-track
on the target as soon as it's available.
| | 01:22 | So, I'll back up the playhead here
and let's say about this frame, it looks
| | 01:28 | pretty good, looks like my target is available.
| | 01:29 | So, I'm going to clear the data
forward from this point and to clear the
| | 01:36 | offset, this button right here, clear offset,
pops the tracker right back where it was.
| | 01:43 | Now I can track from here
forward to the end of the shot.
| | 01:47 | I now have clean data even
though my target is covered up.
| | 01:53 | Now that we have collected some good
tracking data, let's see how to use that to
| | 01:57 | stabilize and match-move elements.
| | Collapse this transcript |
| Applying tracking data| 00:00 | Now that we have seen how to collect
tracking data, in this segment we'll take
| | 00:04 | a look at how to apply it.
| | 00:06 | I've reset Nuke, so we
need to reload the Lab Guy.
| | 00:09 | We'll come up to the Read node >
WORKSHOP > Lesson_04_Media > Lab Guy,
| | 00:15 | 100 frames, open up.
| | 00:19 | Connect to the Viewer and we'll make
the Viewer larger and a little more
| | 00:24 | Property panel, please.
| | 00:29 | To add the Tracker node, we'll select
the Read node, go to the Transform tab and
| | 00:35 | select the Tracker node.
| | 00:39 | We don't need this Read node anymore,
so let's close the Property panel.
| | 00:43 | If you're tracking for translation only,
the minimum number of points you need is one.
| | 00:48 | If you're tracking for Translate, Rotate and
Scale, the minimum number of points is two.
| | 00:53 | Of course, you can track more points
and Nuke will average them together,
| | 00:58 | getting you a more accurate track.
| | 01:00 | So, let's start by seeing how we would
stabilize this plate in translate only.
| | 01:05 | I'm going to use two tracking points.
| | 01:09 | Tracker 1 is enabled, so let's enable Tracker 2.
| | 01:12 | Place them right up here in the
corner of this window and Tracker 1 in that
| | 01:17 | corner of the window.
| | 01:18 | I happen to know these will track very nicely.
| | 01:22 | Now, we'll go up here and say track
forward and the points will track for
| | 01:25 | the length of the shot.
| | 01:28 | We'll scrub through the shot and go yes,
| | 01:30 | I have tracking data.
| | 01:32 | Set the playhead to the beginning of the shot.
| | 01:36 | The first thing we have to do is
enable the trackers for the transformation
| | 01:40 | we're going to use them for.
| | 01:42 | That's done right here,
Translate, Rotate and Scale.
| | 01:48 | We're only going to be using Translate at first.
| | 01:50 | So, I'm going to turn off Rotate
and Scale and I'm going to turn on
| | 01:52 | Translate for Tracker 2.
| | 01:54 | So, Tracker 1 and Tracker 2
are enabled to be used for the
| | 01:59 | translation calculations.
| | 02:02 | Next, we go to the Settings tab and
we'd tell it what type of transformation
| | 02:07 | we're going to be doing.
| | 02:08 | They call it Warp type.
| | 02:10 | Translate, Rotate, Scale,
whatever, we're just doing Translate.
| | 02:13 | So, we'll leave that where it is.
| | 02:15 | Third is the Transform tab, and this
is really what kind of mode you're in.
| | 02:21 | This is node transforms at the moment
or we could say stabilize or match-move.
| | 02:28 | We want to stabilize.
| | 02:30 | So, the Tracker is now set to do a
stabilize in Translate only using two
| | 02:34 | points averaged together.
| | 02:37 | Let's play that and see how it looks.
| | 02:39 | If I put my cursor on the transform jack,
we can see that the picture is nicely
| | 02:43 | stabilized in Translate only.
| | 02:49 | But we can also see that the plate is
still wobbling in Rotation and Scale.
| | 02:54 | So, let's fix that next.
| | 02:55 | We'll stop the playback.
| | 02:59 | We want to leave the transform in
stabilize, go back to the Tracker tab, and now
| | 03:04 | we need to turn on Tracker 1 and 2 for
Rotate and Scale calculations. All right!
| | 03:11 | We go back to the Settings tab
and tell it we want to now do
| | 03:14 | Translate/Rotate/Scale.
| | 03:18 | If we play this, we can now see I have
placed my cursor right on Tracker 1, that
| | 03:24 | both tracking points are now locked to
Translate/Rotate/Scale. We'll stop that.
| | 03:31 | So, remember, there are three things to set.
| | 03:35 | First, on the Tracker page, enable each
tracker for the type of transformation
| | 03:40 | you want to use in these calculations.
| | 03:43 | Second, the Settings page for
what they call the warp type or what
| | 03:47 | transformations you're going to using.
| | 03:50 | Third, the transform setting, which
is what mode you're going to be in.
| | Collapse this transcript |
| Performing a match move| 00:00 | Now let's do a match-move
using the same track data.
| | 00:03 | We'll set the transform type
from stabilize to match-move.
| | 00:07 | Make sure you're on frame 1 of your playback.
| | 00:11 | Now let's add a Bezier node.
| | 00:14 | We'll select the Read node,
and I want to do a branch.
| | 00:16 | So, I'm going to hold down Shift+P.
Set a Bezier node off of the side here.
| | 00:23 | I don't want the tracker onscreen
controls in my face, so I'm going to fold up
| | 00:26 | the tracker here and draw my Bezier shape,
| | 00:29 | I'm going to draw a
square that fits in the window.
| | 00:31 | So, Alt+Command, click, click, click,
and click to get a nice square shape.
| | 00:40 | Select them all, type C on the
keyboard for Cusp and we'll just nudge these
| | 00:45 | points in to make sure
they sit in the window nice.
| | 00:49 | What I'm interested here is the alpha channel.
| | 00:52 | I'm going to use it as a mask.
| | 00:53 | We'll connect the Viewer to here.
| | 00:56 | Switch to the alpha channel.
| | 00:57 | This is what I want to animate.
| | 00:59 | I'm going to use it as a mask for
color correction operation and I want it to
| | 01:04 | follow the shot using the match-move.
| | 01:08 | The tracker is just being used as a
data source, so I'm going to move it
| | 01:11 | over here to link to it.
| | 01:13 | We'll unfold the tracker property panel,
and shift the Bezier to the Tracking tab.
| | 01:20 | You'll see the Bezier has Translate,
Rotate and Scale, just like my tracker has
| | 01:25 | Translate, Rotate and Scale.
| | 01:27 | All I need to do is link the
Bezier tracking data to the tracker.
| | 01:33 | So, from the tracker, hold down Command,
click, drag-and-drop on top of the Translate.
| | 01:41 | Go to the Rotate, Command,
click-and-drag to rotate.
| | 01:45 | Go to the Scale, Command,
click-and-drag to scale.
| | 01:51 | Very important is the center.
| | 01:53 | If you forget to link the center, then
the centers of Rotation and Scale will be
| | 01:56 | wrong and the match-move will not work.
| | 01:59 | So, Command+Click on
center, drag-and-drop there.
| | 02:03 | I've now linked the Bezier
tracking data to my tracker.
| | 02:07 | Now, if I scrub through the shot, my
alpha channel is moving like I expect.
| | 02:12 | Set that to frame 1.
| | 02:15 | Now to use my animated mask, I'll select
the Read node and add a Grade node with
| | 02:20 | Shift+G. Hook up my Viewer to it,
switch the Viewer back to RGB.
| | 02:28 | I don't need the Bezier or
the tracker in my face anymore.
| | 02:32 | I'm going to set the Grade node.
We'll go to the gain, punch that up, set it
| | 02:40 | for a very red frame. Close that.
| | 02:44 | Now, I'll set the mask input to the Bezier
node, so I only get the red where the mask is.
| | 02:51 | Now, since my mask is tracking, the red zone
should track when I play the clip. There we go!
| | 03:02 | I've now applied a match-move from the
Tracker to that mask, and I did it with the links.
| | 03:11 | In addition to linking the tracking
data to a Transform node, we can also link
| | 03:16 | each individual tracker to a
control point of a Bezier curve.
| | 03:20 | Let's see how that's done.
| | Collapse this transcript |
| Tracking Bezier control points| 00:01 | I've reset Nuke and brought in the
lab guy and a nice clean Tracker node.
| | 00:05 | Notice that it's set off to the side here.
| | 00:08 | We are going to do our motion tracking
and we're just going to be linking to it.
| | 00:12 | In this movie, we're are going to see
how to take tracking data and link it
| | 00:15 | directly to the control points of a
Bezier curve, and we'll use our favorite
| | 00:20 | window corners for this too.
| | 00:22 | So, first, I am going to
turn on all my trackers.
| | 00:24 | Okay, then position them on the
window corners, like so. There we go.
| | 00:39 | Now, we've already determined that
this is an easy track so that's why we are
| | 00:43 | not doing this one track at a time.
| | 00:45 | So, we'll track all those points then
scrub through the animation, make sure we
| | 00:54 | got some tracking data,
and everything looks fine.
| | 00:56 | Make sure you are on Frame 1.
| | 01:00 | Now, let's add the Bezier node.
| | 01:02 | Select the Read node and do Shift+P.
Set the Bezier node off to the side here
| | 01:08 | and now we'll draw our shape.
| | 01:10 | The important thing is that we don't put our
control points right on top of the trackers.
| | 01:15 | We'll put them close, but not on top.
| | 01:17 | So, Alt+Command, click, click, click,
click, Command+A to select all the
| | 01:24 | points and then type C on the keyboard to make
ourselves the cusp so we have a nice square shape.
| | 01:31 | Deselect off the side and
now we can move the points.
| | 01:35 | Okay, all we have to do is
connect a tracker to a control point.
| | 01:40 | For example, this point is next to Track 2.
| | 01:44 | So, in the Tracker property panel,
we'll go to Track 2, the animation,
| | 01:49 | Command+click+drag and drop that on top of
the control point and it jumps to Track 2.
| | 01:56 | That's your sign that they are connected.
| | 01:59 | This one goes to Track 3.
Come to Track 3.
| | 02:03 | Command+click+drag.
| | 02:05 | Drop on the control point and he jumps over.
| | 02:08 | This one is Track 1.
| | 02:10 | Track 1, Command+click+
drag and drop, he jumps in.
| | 02:14 | Track 4, Command+click+drag and drop.
| | 02:21 | Okay, I'll scrub through the animation and
indeed, it looks like they are connected.
| | 02:25 | I'll now hide the Tracker property
panel and play the clip and indeed,
| | 02:31 | the control points
are now locked to the trackers.
| | 02:34 | Locking the trackers to the control
points of a Bezier is actually the first
| | 02:38 | step in doing a Corner Pin shot.
| | 02:40 | We'll see how to do that next.
| | Collapse this transcript |
| Tracking a four-corner pin shot| 00:00 | Doing a four-corner pin shot like a
monitor insert shot is a very similar
| | 00:05 | procedure, but there's one very critical
point that we have to always get right.
| | 00:10 | Let me show you that.
| | 00:12 | First, let's delete this Bezier and
this tracker and get some nice clean ones.
| | 00:18 | Frame that and jump to Frame 1. Make
sure you are on Frame 1 in the timeline.
| | 00:23 | Select the Read node and
let's go get our tracker.
| | 00:27 | Shift+click because again we're
just going to be linking to it.
| | 00:32 | Once again, we are going to
track the window, but there is a very
| | 00:34 | important difference.
| | 00:35 | I am going to turn on all four trackers,
and I am going to turn the Viewer gain
| | 00:40 | down so our trackers really pop.
| | 00:43 | The key in doing corner pinning is
the trackers must stay in this order:
| | 00:49 | Tracker 1, 2, 3, and 4.
| | 00:51 | You cannot cross them or get them out of place.
| | 00:54 | If you do then the corner pinning won't
work because the CornerPin node expects
| | 00:59 | them to be in exactly that order.
| | 01:01 | So, I am going to move Track 3 up to
this corner, Track 2 over to this corner,
| | 01:09 | Track 4 up to here, and Track 1 over to
there, carefully maintaining the correct order.
| | 01:18 | I'll set the Viewer gain back to normal,
home the Viewer, we're on Frame 1, make
| | 01:25 | sure you're on Frame 1, and track the
shot forward, knowing that we are going to
| | 01:30 | get a nice clean track for all four
points except Track #2 didn't work.
| | 01:36 | Notice Track 2 turned dim.
| | 01:38 | That's your sign that that's the one that broke.
| | 01:41 | Normally, we would deselect the
trackers and get clean tracks and start
| | 01:44 | everything all over again,
but this is such a quick track.
| | 01:46 | I'm simply going to go back to Frame 1,
reposition Track 2 just a little bit,
| | 01:52 | clear all and track it again and this time,
I should get a nice clean track. Here we go.
| | 01:59 | Okay, so I got good tracking data.
| | 02:02 | The important thing is I kept my
trackers in exactly the right order.
| | 02:06 | Go back to Frame 1.
| | 02:07 | I am going to move the Tracker node over
here to make room for my CornerPin node.
| | 02:15 | Let's go get the Checkerboard.
| | 02:16 | We are going to corner pin the
Checkerboard to that window, and then to that,
| | 02:20 | let's add the CornerPin node.
| | 02:24 | We don't need the Checkerboard
property panel, so let's fold that away.
| | 02:27 | I am going to turn the Viewer
Gain down so you can see better.
| | 02:33 | Look what we've got here.
| | 02:34 | These are the four points from the
CornerPin node and they are in exactly the
| | 02:39 | order of to Point 1, Point 2,
Point 3, and Point 4.
| | 02:45 | Their size is based on
the size of this image here.
| | 02:48 | A larger image, they would be out here;
smaller image, they would be in smaller.
| | 02:52 | Now we are going to connect each of the
corner pin points to our four tracking points.
| | 02:57 | Very simply done. Simply Command+
click+drag the Track 1 point to Point 1
| | 03:06 | in the CornerPin.
| | 03:09 | Command+click Tracker 2 to Point 2.
Command+click Track 3 to Point 3
| | 03:17 | and Track 4 to Point 4.
| | 03:21 | Be sure you hold down the Command
key until you've dropped it off.
| | 03:26 | Now look at what we've got over here.
| | 03:28 | If I hide the Tracker node, the CornerPin
points are now exactly where the trackers were.
| | 03:38 | We've now effectively locked the
CornerPin to the trackers. All right.
| | 03:44 | to the CornerPin node, select that
and add a Merge node, hook it in, and now
| | 03:51 | you can see the CornerPin node has
resized the checkerboard to fit exactly
| | 03:56 | where our trackers were.
| | 03:57 | I'll turn the Viewer gain back on and
we'll go to the Merge node and set it for
| | 04:03 | semi-transparency, so we
can see what we're doing here.
| | 04:07 | We don't need the Merge node anymore,
so we'll close that property panel and
| | 04:10 | let's hide the CornerPin node
and play our clip. All right.
| | 04:16 | it seems to be tracking just fine.
| | 04:17 | The problem is it isn't fit correctly.
| | 04:19 | Let's see what we can do about that.
| | 04:23 | This corner here, for example, our
tracker was way over here. See, right there,
| | 04:29 | but the corner of the window is over here.
| | 04:33 | So, I really need to move this
corner or offset this corner up to here.
| | 04:38 | Here's how you do that.
| | 04:40 | Go to the CornerPin node and
we have found that this Point #2.
| | 04:45 | Go to the From tab and find Point 2
here and now we can adjust the From
| | 04:54 | position like this.
| | 04:55 | Here is the horizontal and the vertical.
| | 05:06 | So, I can adjust this guy
until I get him right where I want.
| | 05:09 | I'll go back to the
CornerPin tab to look at Point 3.
| | 05:14 | Go to the From tab, go down to Point 3
and adjust him till I got him right were
| | 05:21 | I want him and go back and
fine-tune Point #2 there.
| | 05:31 | That's how you offset the corners in
case you're tracking marker is not right
| | 05:35 | on top of your actual destination.
And now we can play the clip and our
| | 05:41 | four-corner pin is just fine. I'll stop that.
| | 05:51 | So, in this movie, we saw how to
collect tracking data for up to four points,
| | 05:55 | how to edit, clear it, and retract
the data and if you need more than four
| | 06:00 | points, you know you are going
to use more than one tracker node.
| | 06:04 | We also saw how to apply the tracking
data to either stabilize or match-move an
| | 06:09 | element, whether we want just to
translate or translate, rotate and scale.
| | 06:15 | We also saw how to take tracker data
and connect it directly to Bezier control
| | 06:20 | points as well as the proper
procedure for using tracking data for the
| | 06:24 | four-corner pin and remember,
the point order is critical.
| | Collapse this transcript |
|
|
5. Keying and TimingThe Keyer node| 00:01 | A good place to start talking about
Nukes keying is with the Keyer node.
| | 00:06 | The Keyer node is actually a whole collection
of simple little keyers. Let's take a look.
| | 00:12 | Let's go to the Read node and
get an image from Lesson 03.
| | 00:16 | Go to the Nuke Workshop > Lesson_03_Media.
| | 00:20 | Let's get the desert picture and bring that in.
| | 00:25 | From the Keyer tab, select the Keyer node.
| | 00:28 | Put that in and we'll attach it to our viewer.
| | 00:33 | We don't need this Read node
anymore so we'll close that.
| | 00:38 | As I said the Keyer node is a
collection of simple little keyers and you can
| | 00:41 | choose which key operation you want to
use from this pop-up list right here.
| | 00:45 | The default, of course, is the Luma
key and that's the one we'll start with.
| | 00:50 | The other important part of the Keyer
is it has this range adjustment here.
| | 00:54 | This is really just a scale
factor for the matte that it pulls.
| | 00:58 | So, I'll undo that with the Command+Z
and we'll take a look at how the Keyer
| | 01:02 | node does a Luma key.
| | 01:05 | Switch the viewer over to the alpha
channel and we'll get little more screen
| | 01:09 | space here, so we can see what we are doing.
| | 01:12 | And the first thing you'll see is that
the Keyer node has created a luminance
| | 01:16 | version of the image and
put it in the alpha channel.
| | 01:18 | So, we are just going to use the range
adjustments to get the matte that we want.
| | 01:22 | Okay and right away, we can see
the problem with our Luma key.
| | 01:29 | Other parts of the picture like these
rocks will get caught in the same Luma key
| | 01:33 | setting as the parts we wanted like the clouds.
| | 01:37 | So, the Luma key is not a
very discriminating keyer.
| | 01:40 | However, the Keyer node has a bit
of a clever addition to these range
| | 01:44 | adjustments and that is that
there's really four points to adjust in
| | 01:49 | this trapezoid here.
| | 01:51 | We'll see how that works.
| | 01:56 | Let's go get a new picture from
this week's workshop Lesson_05_Media.
| | 02:03 | Pull in the lumakey_target. We'll open that.
| | 02:06 | Let's add from the Keyer tab another
Keyer node and then we'll add a viewer to
| | 02:13 | that with Command+I. I'll switch the
viewer to the alpha channel so we can see
| | 02:19 | the luminance image.
| | 02:21 | Our target is this oval.
| | 02:22 | You can see it's a middle gray where
we have darker grays and lighter grays.
| | 02:28 | That's what the trapezoidal curve is all about.
| | 02:31 | I'll adjust this slider here
until the dark grays turn to black.
| | 02:35 | Now, my target is a middle gray and
the triangle is a much brighter gray.
| | 02:39 | To bring the triangle up to white,
I am going to pull on this guy right here
| | 02:44 | till the triangle gets nice and solid.
| | 02:47 | But now I have two items
that are the same white.
| | 02:50 | This is actually in the original
image a brighter white than that one.
| | 02:53 | So, I'll come to this second white
point here and pull that in and it gets a
| | 02:58 | little dimmer and then I'll
pull down on the blacks there.
| | 03:02 | What that has done is taken the
very bright pixels here in the matte and
| | 03:07 | pulled them down to black.
| | 03:09 | And my target gray is between
these two white points right here.
| | 03:14 | But we also have some
leftover pixels from the triangle.
| | 03:17 | That's because these anti-alias
pixels just happened to be the same gray
| | 03:21 | value as my target and so
they were caught in the same key.
| | 03:27 | To take a look at some of the other keyers in
the Keyer node, let's go and a get a picture.
| | 03:31 | From the Read node, this week's
workshop, get the karate_greenscreen picture.
| | 03:37 | Bring that in and we'll scoot things over.
| | 03:43 | Let's go get a new Keyer node
and let's add another viewer.
| | 03:49 | Fit that to the viewer.
| | 03:51 | In the Operation pop-up, we
have red, green and blue keyers.
| | 03:56 | Now, these are simple keyers
based on the one color channel.
| | 04:00 | For example, if I select the green
keyer and then we look into the alpha
| | 04:05 | channel, all it's done is put the green
channel in the alpha channel and then we
| | 04:11 | can simply scale it with this, until
we get the matte that we're looking for.
| | 04:15 | Of course, you are never going to get a great
matte by just keying on one channel. All right.
| | 04:21 | let's clear our Property Bin and make a
copy of the karate_greenscreen picture
| | 04:26 | and take a look at another
set of keyers in the node.
| | 04:30 | We'll select the karate_greenscreen node,
go to the Keyer tab, get another keyed,
| | 04:36 | and add another viewer with Command+I.
So, with the viewer, this operation we
| | 04:43 | want to look at is the
redscreen, greenscreen, bluescreen.
| | 04:48 | These three keyers pull a simple color
difference key on whichever channel you select.
| | 04:52 | If you go and look in the alpha channel,
we can see a very simple green screen
| | 04:58 | color difference key here, and once
again, we just scale the matte until we get
| | 05:03 | the picture we're looking for.
| | 05:04 | Of course, this green screen keyer
is a very simple one, no where near as
| | 05:10 | sophisticated as using something
like Primatte or the IBK Keyer.
| | 05:13 | However, it could be useful.
| | 05:15 | It's a quick and dirty key.
| | 05:17 | You might find it helpful in a quick situation.
| | 05:20 | For the last keyer operation we're going
to look at, we'll need the color wheel.
| | 05:24 | So, let's go to Read node and get the
colorwheel image and then in here, go get
| | 05:33 | another Keyer node, and let's add another viewer.
| | 05:40 | Now this is a colorwheel image that I've
prepared that has a gradient applied to
| | 05:44 | make it darker towards the center.
| | 05:47 | So, this colorwheel represents, obviously,
a different hue all the way around the edge.
| | 05:52 | It's also highly saturated around the edge.
| | 05:55 | As you come in towards the center,
it loses both saturation and some brightness.
| | 05:59 | So, this represents kind of
a large chunk of color space.
| | 06:04 | Let's see how the saturation key works
with this. Come up here in the operation
| | 06:09 | pop-up and select saturation key.
| | 06:13 | We'll switch the viewer over the alpha
channel and now we can adjust our range
| | 06:19 | so that we're keying on just a
particular range of saturation.
| | 06:24 | Remember, the saturation varies from
center to edge, so we can do something
| | 06:27 | like this if we want.
| | 06:28 | Of course, this is indifference to hue
because the hue is changing all the way
| | 06:33 | around and it doesn't care about brightness.
| | 06:37 | So, it's actually just creating a key
based on the saturation of the image,
| | 06:41 | exactly like the operation says.
| | 06:44 | As we've seen, the Keyer node has a
variety of simple little keyers in it, but
| | 06:48 | it does not have a chroma keyer.
| | 06:50 | For that, we have to use the HSV tool
node, which we'll see in the next movie.
| | Collapse this transcript |
| Using the HSV tool as a chroma keyer| 00:00 | Nuke doesn't have a chroma keyer per se,
but in the Color tab, the HSVTool can
| | 00:05 | be used as a sort of chroma keyer.
| | 00:08 | Let's see how it works.
| | 00:09 | First, we'll get a picture.
| | 00:11 | We go to the Read node, our workshop,
Lesson_05_media, get the colorwheel
| | 00:18 | picture, bring that in.
| | 00:22 | On the Color tab, we'll select the HSVYool node.
| | 00:27 | Hook that up to our viewer and a little
more viewer space here and fill the viewer.
| | 00:35 | We don't need to Read node property
panel anymore, so we'll close that.
| | 00:41 | The original intent of the
HSVTool is as a color replacement.
| | 00:45 | You select a source color from the image,
select the second color, and the second
| | 00:49 | color will go in and
replace that in the picture.
| | 00:52 | However, we are going to use
it in a somewhat different way.
| | 00:56 | The HSVTool allows you
to select a range of Hue.
| | 01:00 | The range is selected on these sliders
right here, and a range of saturation and
| | 01:05 | range of brightness.
| | 01:06 | Then it will combine those three ranges
together to create a matte, which goes
| | 01:12 | out into the alpha channel
or whatever you have set here.
| | 01:17 | You could select any channel you wanted,
but of course, the alpha channel is
| | 01:20 | normally what you are going to do.
| | 01:22 | The next setting is very important.
| | 01:24 | This selects which of the three parameters
are going to be used to calculate the matte.
| | 01:30 | We want to use all of them, very
important to set all right here.
| | 01:36 | Now the colorwheel image varies
in hue as you go around the circle.
| | 01:41 | It also varies in brightness and
saturation from the outer edge to the center.
| | 01:46 | It gets less saturated towards the center,
and gets brighter out towards the edge.
| | 01:51 | So, this gives us good
variation in all three directions:
| | 01:54 | hue, saturation, and brightness.
| | 01:57 | To see how the HSVTool works, we'll
switch the viewer to the alpha channel so
| | 02:02 | we can dial in our chroma key.
| | 02:05 | First thing we'll do is we'll set a range.
| | 02:07 | You can move one end or the other of
the range and this narrows the gap or
| | 02:13 | widens it. Putting your cursor in the
middle moves it around the circle so you
| | 02:19 | can select which hue that you want.
| | 02:22 | The Range Rolloff adds a softening factor to it.
| | 02:28 | Next is saturation.
| | 02:29 | Again, we can set a saturation range.
This is the low end and the high end.
| | 02:34 | And again, we can move them as a pair,
so we can isolate any range of saturation
| | 02:40 | in the picture we want.
| | 02:43 | And of course, we can adjust the Range
Rolloff here to add a little softness to
| | 02:47 | our saturation selection.
| | 02:51 | Same thing for the brightness. A
lower end for the brightness adjustment
| | 02:54 | here, an upper range here, and then we can
set the Range Rolloff to get a nice soft edge.
| | 03:01 | This now allows us to select a chunk of
the color space that we have isolated in
| | 03:07 | hue, saturation, and
brightness to make our chroma key.
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| The Difference node| 00:01 | One other keyer in Nuke is the Difference node.
| | 00:04 | Let's load a couple of pictures to take a look.
| | 00:07 | Go to the Read node and what we
want is the target and the clean_plate.
| | 00:14 | Bring those two in,
hook those up to a new viewer.
| | 00:22 | Now you may be familiar with a difference keyer.
| | 00:28 | The idea is it uses two plates, the
target plate and a clean plate and
| | 00:33 | the node performs an absolute
difference between the two plates, and that
| | 00:38 | difference makes up the matte.
| | 00:40 | It tends to be a rather poor quality matte.
| | 00:43 | In other words, the difference keyer
doesn't work nearly as good as it sounds,
| | 00:47 | but let's give it a go and see what happens.
| | 00:51 | We'll select the target image,
come up to the Keyer tab, select the
| | 00:55 | color Difference node.
| | 00:57 | It's hooked itself into the A side,
we'll put the clean plate on the B side and
| | 01:01 | by the way, it does not
matter which one you connect where.
| | 01:05 | We don't need that connection anymore there.
| | 01:09 | We'll switch to the alpha
channel and there you have it.
| | 01:14 | This is a simple absolute
difference between the two plates on a
| | 01:17 | pixel-by-pixel basis.
| | 01:19 | You can then dial in the Difference
matte by adjusting the offset and the gain
| | 01:26 | to get the best match you can.
| | 01:27 | While a difference matte is a very
poor quality matte, it's also simple,
| | 01:33 | easy and quick to create and might be useful
to you as a garbage matte in a few situations.
| | 01:38 | In this movie, we saw Nuke's Keyer node
as sort of a Swiss Army knife of simple
| | 01:43 | keyers, where we could key on a
channel or a bluescreen/greenscreen or
| | 01:48 | luminance or even saturation.
| | 01:51 | We also saw how the HSVTool can be
twisted and bent and used as a chroma Keyer
| | 01:56 | as well as how to use the difference
keyer, although the Difference keyer node
| | 02:02 | doesn't give you very useful keys very often.
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| Understanding how Primatte works| 00:01 | Primatte is a very powerful proprietary
keyer developed by IMAGICA Corporation
| | 00:06 | and licensed to the Foundry for Nuke.
| | 00:08 | It's designed to pull high-quality
keys for green screen and blue screen and
| | 00:13 | in fact, frankly, any other color you want.
| | 00:16 | Primatte can be rather difficult to
understand and even more difficult to control.
| | 00:21 | So, let's take a look at the theory behind it.
| | 00:24 | Primatte is, in fact, a
three-dimensional chroma keyer.
| | 00:28 | The concept is it takes all the pixels
in the image and places each pixel into a
| | 00:34 | three-dimensional color cube like this,
so all the pixels of the green screen
| | 00:38 | would be clustered together in
a little green cloud like this.
| | 00:42 | All of the other pixels belonging to the
characters would be scattered out here in the queue.
| | 00:47 | Once Primatte collects the backing
colors into a little cloud like this, it then
| | 00:51 | puts a polygonal mesh around them.
| | 00:54 | The pixels inside the polygon will be
the backing region and be the black part
| | 00:59 | of the matte and everything outside will
be the characters in the foreground and
| | 01:03 | will be the white or the
solid part of the matte.
| | 01:06 | Now that's an over-simplification.
| | 01:09 | Let's take a look at this.
| | 01:10 | This is a two-dimensional
representation of the 3D process inside of Primatte.
| | 01:16 | Primatte actually draws three
concentric polygonal objects.
| | 01:21 | The inside polygon, called the small
polygon, is 100% the backing color,
| | 01:28 | representing the totally
black part of the matte.
| | 01:32 | The medium polygon out
here is partially transparent.
| | 01:37 | The large polygon here represents
completely opaque, solid foreground.
| | 01:43 | Everything outside of this polygon out
here are the characters in other parts of
| | 01:47 | the green screen and represent the
100% solid white part of the matte.
| | 01:54 | The pixels here in Zone 2 are
semitransparent and they get spill suppression.
| | 01:59 | The pixels here in Zone 3 are 100% solid,
100% opaque, but also get spill suppression.
| | 02:06 | For example, if there was some spill
on the cheek of a character, they would
| | 02:11 | be in this zone here.
| | 02:13 | You create the key in Primatte by,
frankly, bashing these polygons around to
| | 02:19 | subtly adjust them, to
include and exclude certain pixels.
| | 02:24 | You can then very precisely determine
which pixels are in the 100% foreground or
| | 02:29 | the solid core matte and which pixels
are in the backing region and by adjusting
| | 02:34 | and mis-shaping the polygons, you can
then determine which parts will have spill
| | 02:39 | suppression and which parts will not.
| | 02:42 | One of the problems with Primatte is if
you start over bashing it, you can get
| | 02:47 | it in such a distorted shape that it
becomes useless and you have to flush it
| | 02:51 | and start all over again.
| | 02:54 | So, one of the important roles with
Primatte is, don't overdo it. The fewest
| | 02:59 | possible adjustments to get your target.
| | 03:01 | So, let's see how it works in the real world.
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| Setting up a basic Primatte key| 00:01 | In this video, we'll see how
to set up a basic Primatte key.
| | 00:04 | We are going to need a
couple of images to work with.
| | 00:07 | So, we'll go to Read node, our Workshop,
Lesson_05_Media, get the greenscreen_HD
| | 00:16 | and the HD background. It goes in here.
| | 00:22 | Select the greenscreen Read node, come up
to the Keyer tab, and select Primatte node.
| | 00:30 | Note, Primatte is disabled
in the PLE version of Nuke.
| | 00:35 | Since it's a licensed plug-in, like FrameCycler,
it's not available in the PLE version. All right.
| | 00:43 | Let's hook up the background to the
background and connect Primatte to our
| | 00:48 | viewer, a little more screen
space here and fill the viewer.
| | 00:53 | The first thing you may notice
is this funny little outline.
| | 00:57 | That's actually a crop window
and is really not very useful.
| | 01:01 | If you want to do that, you
are going to do a garbage matte.
| | 01:04 | We'll see how to do that in a minute.
| | 01:05 | So, I'll put that back and refill the Viewer.
| | 01:11 | The brilliance of Primatte is that
you actually talk to it by sampling
| | 01:15 | pixels from the image.
| | 01:17 | So, our first operation is to tell it
what color the background is and that's
| | 01:22 | our first operation,
select the background color.
| | 01:25 | This little eyedropper here tells you
that Primatte is in the Color Sampling mode.
| | 01:31 | So, you must have the eyedropper on.
| | 01:34 | We'll come up here and Command+click
and drag and sample the background region,
| | 01:40 | and we'll go to the alpha (A) channel
and see we've got a presentable matte,
| | 01:44 | not bad for one click.
| | 01:46 | The next step is to clean the background noise.
| | 01:49 | Come to the operation pop-up and it's
the very next item in the list,
| | 01:53 | Clean BG Noise.
| | 01:55 | Command key, click and drag.
Command key, click and drag.
| | 01:59 | If you want to grab a bunch of pixels,
Command+Shift and drag a sample box.
| | 02:05 | Command+Shift and there we go.
| | 02:08 | After you've cleaned all the
background noise, the next is to clean
| | 02:12 | the foreground noise.
| | 02:14 | We'll go to the operation pop-up
and select Clean FG Noise.
| | 02:19 | Again, I am going to drag a whole
selection box, Command+Shift here on the face,
| | 02:24 | Command+Shift down here on the
shirt and maybe another one there.
| | 02:27 | Again, not too many samples.
| | 02:30 | The next item in our
operation pop-up is the Matte Sponge.
| | 02:34 | The Matte Sponge is used
to expand the core matte.
| | 02:38 | I'll zoom in here to the hair and
I'll do a Command+click and drag there.
| | 02:43 | Did you see the core matte expand?
| | 02:44 | I am going to undo that because
that's kind of a heavy hammer.
| | 02:48 | The next item in the list is
the make foreground transparent.
| | 02:52 | This actually has a very narrow application.
| | 02:55 | We are going to skip it.
| | 02:56 | There are other tools that work better.
| | 02:58 | We'll go straight to Restore Detail.
| | 02:59 | Restore Detail is designed to reintroduce
edge detail out here in the backing region.
| | 03:07 | Command+click and drag.
| | 03:09 | There you can see the
backing is starting to come in.
| | 03:12 | So, if the matte is chewing in too hard
and cutting off fine hair detail, this
| | 03:17 | is how you restore it.
| | 03:18 | I am going to re-home the Viewer and
switch to the RGB channels, because now we
| | 03:25 | are going to look at spill suppression.
| | 03:27 | Let's zoom in to this part of the hair over
here where we have plenty of spill problems.
| | 03:33 | The next operation will be the Spill Sponge.
| | 03:37 | I'll sample pixels here in the hair
and the spill will be removed from that
| | 03:41 | part of the picture.
| | 03:43 | So, that's a basic Primatte key, but
there's still many more features to
| | 03:46 | know about Primatte.
| | 03:47 | We'll see some of those in our next movie.
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| More Primatte operations| 00:01 | I'll re-home the Viewer and now I'll
reset Nuke and we'll reload the images.
| | 00:07 | I've reloaded the green screen and the
background plate to show you some more features.
| | 00:11 | First, select the greenscreen Read
node, then come up to the Keyer tab and
| | 00:17 | select the Primatte node and
hook the background into it.
| | 00:22 | If you don't select this node first,
Primatte is going to crop the plate to
| | 00:26 | whatever the default system settings are.
| | 00:29 | The feature I wanted to show
you is right here, Auto-Compute.
| | 00:32 | If you click that button once,
Primatte does a statistical analysis of the
| | 00:37 | greenscreen plate and
computes the optimal settings.
| | 00:41 | If we go look at the alpha channel,
we see we have a very nice matte.
| | 00:47 | Two adjustments you have for the Auto-
Compute are the auto background factor
| | 00:50 | and the auto foreground factor.
| | 00:53 | If the Auto-Compute results aren't
what you wanted, you can move the slider
| | 00:57 | and re-Auto-Compute.
| | 00:59 | You see the change?
| | 01:02 | We can move the foreground slider
and redo the Auto-Compute there.
| | 01:06 | Do you see that change?
| | 01:07 | Now I'm going to put both of these back
to default and hit Auto-Compute again to
| | 01:13 | get my initial setting.
| | 01:14 | You remember down here on the
operation popup, we have a list of operations.
| | 01:19 | These two arrows simply walk you
through them in the order of list.
| | 01:22 | That's all they do. No big deal.
| | 01:25 | The next operation I wanted
to show you is the Spill(-).
| | 01:29 | We have a Spill(+) and a Spill(-).
| | 01:32 | The Spill(-) means remove Spill
and the Spill(+) means put it back.
| | 01:36 | So, let's choose the Spill(-) and
we'll switch the Viewer to RGB, move in and
| | 01:44 | start removing some of the spill from the hair.
| | 01:47 | Remember, these spill
operations have no effect on the matte.
| | 01:50 | So, I'm going to sample these
pixels here. Whoa! Too much, undo.
| | 01:56 | Fortunately, the Undo command works very well.
| | 02:00 | If you click-and-drag, you're
actually sampling a broad range of pixels.
| | 02:05 | So, you might just want to do a
single click, click, and click to get a
| | 02:09 | more gentle approach.
| | 02:11 | I'm going to move over to this side,
because we have some more spill over here.
| | 02:16 | Sample over here with one
click, another click. There.
| | 02:24 | Easy does it, don't over sample with Primatte.
| | 02:28 | If I go to the Spill(+), I can
actually put some of that spill back.
| | 02:34 | You might want to do that if you
had overdone the spill suppression.
| | 02:37 | I'm going to undo that with an
Undo and an Undo and an Undo.
| | 02:42 | The next operation is the Matte(+) and Matte(-).
| | 02:45 | These will increase and decrease
the density of the core of the matte.
| | 02:49 | So, we'll go to Matte(+) for example,
zoom out, switch to the alpha channel,
| | 02:55 | because I want to fix these stripes.
| | 02:58 | So, my operation is Matte(+), meaning
I want to increase the matte density.
| | 03:02 | I'll sample one click, another click,
another click, all right not too much.
| | 03:07 | Notice that the undo works
quite nicely, Undo, Undo, Undo.
| | 03:13 | When I undo enough, it goes
back to the previous operation.
| | 03:16 | So, I'm going to reenter my Matte(+)
operation and fix my transparencies, click,
| | 03:23 | click, click, all right.
| | 03:26 | You can also use the Matte(-), if you
want to remove density from the matte.
| | 03:31 | A good example might be up here in the hair.
| | 03:33 | If I do a click and sample on the hair, you
can see the hair is getting more transparent.
| | 03:39 | Unfortunately, other
parts of the picture are too.
| | 03:44 | Remember this rule about Primatte.
| | 03:46 | Whenever you are sampling the pixel
values, there will be other pixels somewhere
| | 03:51 | else in the picture that have the same
value, and you're going to be affecting
| | 03:56 | the matte or the spill in that part of
the picture and usually it's off-screen
| | 04:01 | where you can't see it and
you get a surprise later.
| | 04:04 | I didn't like that Matte(-)
operation, so I'm going to undo that.
| | 04:09 | Next, let's take a look at the Detail.
| | 04:12 | Detail(-) removes Detail and Detail(+) adds it.
| | 04:16 | Remember, Detail is the edge detail,
which is where the matte comes up to the
| | 04:20 | edge of your character.
| | 04:22 | So, if we do a sample here, you can see
the matte is starting to fill in right
| | 04:28 | around the edge of the character,
reintroducing more hair detail.
| | 04:32 | And of course, Detail(-) will
take it back out again. All right.
| | 04:37 | let's re-home the Viewer and switch
back to RGB to talk a little bit more
| | 04:42 | about spill suppression.
| | 04:46 | You have your choice of
different spill suppression techniques.
| | 04:50 | The spill samples that you did earlier
told Primatte what pixels you wanted to
| | 04:55 | perform the apill on.
| | 04:57 | What you can do is change what process
is used for doing that apill suppression.
| | 05:02 | The default right here is
replace with a complement color.
| | 05:06 | You can also have it
replaced with a solid color.
| | 05:11 | Here you get to dial in that color and of
course, you can sample colors off the screen.
| | 05:16 | For example, we could sample some of
the hair, so we are replacing the spill
| | 05:21 | pixels with hair color pixels.
| | 05:24 | Or you can use the defocused background.
| | 05:28 | It simply makes a blurred version of
the background and mixes that in all the
| | 05:31 | areas you've identified as a spill area.
| | 05:33 | Or you can have no spill suppression at all.
| | 05:39 | I'll put the Spill Process
back to the default, complement.
| | 05:43 | In this movie, we got a good
overview of Primatte's basic operations.
| | 05:47 | In our next movie, we'll take a
look at how to do garbage matting and
| | 05:51 | grain suppression.
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| Degraining a garbage matte| 00:00 | Okay. I'm going to reset Nuke one more time
in order to show you the garbage matting
| | 00:05 | and grain suppression techniques.
| | 00:08 | For this segment, we're going to
need a couple of different pictures.
| | 00:11 | So, let's go to the Read node, our
WORKSHOPS, Lesson_5_Media, select
| | 00:19 | bluescreen_film and film_BG.
| | 00:25 | These have a little more grain, so
I can show you some grain stuff.
| | 00:33 | Select the bluescreen Read node, go to
your Keyer tab and add your Primatte node
| | 00:40 | and hook it up to the background.
| | 00:42 | A little more screen space for our picture.
| | 00:46 | First up, I'd like to show you how to do
a Garbage matte with the Primatte node.
| | 00:51 | I'm going to move the Viewer over here
and hook it up directly to the bluescreen.
| | 00:56 | If we look at the alpha channel, we can
see that this is a three-channel film scan.
| | 01:01 | There's no alpha channel,
which is what you would expect.
| | 01:05 | So, let's add a Bezier node to this bluescreen.
| | 01:09 | Select the bluescreen Read
node and type B on the keyboard.
| | 01:13 | So, we're going to draw a little
garbage matte around the lady, Alt+Cmd+Click.
| | 01:23 | And the Bezier node will turn off
the red, green, and blue channels.
| | 01:29 | Now if we switch the Viewer to
the alpha channel, we now have a
| | 01:33 | four-channel image.
| | 01:34 | See here, there's an alpha
channel here now from the Bezier node.
| | 01:38 | So, coming into Primatte now is a four
-channel image with the garbage matte
| | 01:43 | in the alpha channel.
| | 01:47 | We'll switch back to RGB and hook
the Viewer up to the Primatte node.
| | 01:54 | We don't need the Bezier anymore, so
I'm going to fold that up to hide it.
| | 01:57 | To use the garbage matte all we have to
do is come down here to mask and tell it
| | 02:02 | to look in the alpha channel.
| | 02:04 | Ta-da! If you'd like to toggle it on
and off, you can do that right here.
| | 02:09 | If you need to invert it,
you can do it right there.
| | 02:13 | So, the bottom line is if you want a
garbage matte for Primatte, you have to put
| | 02:17 | it in the alpha channel.
| | 02:18 | There's no mask input to the Primatte node.
| | 02:21 | Now let's take a look at the
Degrain features in Primatte.
| | 02:25 | First of all, we're going to need to pull a key.
| | 02:28 | So, I'm going to go to my Select BG Color.
| | 02:31 | I select my background color.
Check the alpha channel.
| | 02:35 | I'll clean it up a little bit,
clean the background noise, sample,
| | 02:42 | sample, sample, okay.
| | 02:46 | So, I've got some grain.
| | 02:47 | This is a film scan.
| | 02:48 | This is actually a 2K film scan
that's been scaled down to 1K.
| | 02:52 | So, there's still a lot of grain in it.
| | 02:55 | So, we can turn on the Degrain feature here.
| | 02:57 | Right now, the Degrain is none.
| | 02:59 | We'll go to the type pop-up and
select small, medium, or large.
| | 03:04 | In our case, the graining is rather small.
| | 03:07 | So, I'm going to select that
one and then we can dial it in.
| | 03:11 | We don't want to hit it too hard,
because degraining removes edge detail.
| | 03:16 | So, I'm going to show you that right here.
| | 03:18 | So, I'll adjust the tolerance here.
| | 03:20 | We'll come back to our RGB
and look at our composite.
| | 03:23 | I want to scoot in here to
look at the fine hair detail.
| | 03:28 | So, if I change the Degrain to none,
you can see I get come hair detail back.
| | 03:32 | Put it back to small. It goes away.
| | 03:34 | Id I go to medium and large,
| | 03:36 | I lose even more hair detail, because
it's a more aggressive degrain operation.
| | 03:41 | Now let's re-home the Viewer, because I
wanted to show you down here the output modes.
| | 03:49 | There are actually three different output modes.
| | 03:51 | The default is composite, but you'll
rarely get to use that, because very few
| | 03:56 | keys can actually be
pulled with one Keyer setting.
| | 03:59 | You're normally going to pull multiple
keys and combine them, but the other two
| | 04:04 | output modes are a premultiplied
output and an unpremultiplied output.
| | 04:10 | I'll set it back to the default.
| | 04:14 | In this movie, we took a close look at
the implementation of Primatte in Nuke.
| | 04:18 | First of all, we did a little theory
of operation to understand how it's a
| | 04:22 | three-dimensional chroma keyer and it
produces those multiple concentric shells
| | 04:27 | that you then deform with
your selections from the screen.
| | 04:31 | We also went down the entire list of
Primatte operations to see the effect of
| | 04:36 | each operation on the
matte or the spill suppression.
| | 04:40 | And finally, we saw how you apply a
garbage matte to Primatte, because it has no
| | 04:44 | mask input, as well as how to do
some grain suppression operations.
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| Setting up the IBK Color node| 00:01 | The IBK Keyer was developed at Digital
Domain as a proprietary in-house Keyer.
| | 00:07 | Its main virtue is that it's
specifically designed to cope with the non-uniform
| | 00:11 | backing regions we so often encounter
with blue screen and green screen shots.
| | 00:16 | It does this by not setting the backing
region to a single color value like most
| | 00:20 | other Keyers, but instead generates a
clean plate that preserves the color
| | 00:24 | variations of the backing region, then
uses this clean plate to create the key.
| | 00:30 | The IBK Keyer consists of two nodes:
| | 00:32 | the IBKColour, which creates our clean
plate, and the IBKGizmo, which pulls the key.
| | 00:39 | You'll find these two nodes
in the Keyer pop-up right here:
| | 00:42 | IBKGizmo, IBKColour.
| | 00:47 | Here we're going to just take
a look at the basic node setup.
| | 00:51 | We start by feeding the green
screen plate into the IBKColour node.
| | 00:55 | The IBKColour node then pulls the clean plate.
| | 00:59 | This clean plate becomes the input
to the IBKGizmo node, on the C input.
| | 01:05 | The green screen comes in on the
foreground input and the background region
| | 01:09 | comes then on the BG input.
| | 01:11 | The IBKGizmo actually uses the
background in calculating fine edge detail.
| | 01:17 | The output of the IBKGizmo node is, in
fact, a premultiplied four channel image.
| | 01:24 | It does not perform the composite.
| | 01:27 | To do the composite, you feed the output
of the IBKGizmo node to a compositing node.
| | 01:34 | On rare occasion, you'll
actually be given a clean plate,
| | 01:37 | so let's take a look at that setup.
| | 01:40 | Here's our clean plate setup.
| | 01:43 | This scene actually had a clean plate
that was shot on location, on the set.
| | 01:48 | We can use this instead of the IBKColour node.
| | 01:52 | So, we will not use an IBKColour node.
Instead, we'll plug the clean plate
| | 01:56 | into the C input of the IBKGizmo and again,
the foreground and the background as before.
| | 02:03 | Now the IBKGizmo will pull the key
using the clean plate, but notice the
| | 02:11 | extra shadow detail.
| | 02:13 | Now let's take a look at our composite.
| | 02:18 | Not only did we get the extra shadow
detail compared to the other one here -
| | 02:21 | let's bounce back to the
other one and take a look.
| | 02:24 | So, this is the composite using the
IBKColour node to synthesize a clean plate
| | 02:29 | and this is our real clean plate.
| | 02:30 | Not only do we get the shadows, but
the tracking markers are now gone.
| | 02:37 | So, using a real clean plate is,
in fact, mathematically superior.
| | 02:40 | However, you're never going
to get that in the real world.
| | 02:43 | So, the IBKColour node is used
to synthesize your clean plates.
| | Collapse this transcript |
| Adjusting the IBK Color node| 00:01 | In this movie, we are going to take a
close look at how to adjust the IBKColour node.
| | 00:07 | You may want to load in the
greenscreen clip with 40 frames and there is one
| | 00:11 | frame background Cineon
file so you can play along too.
| | 00:14 | You will find the media for this
exercise in the Lesson_05 Media folder.
| | 00:21 | First thing we will do, select our
greenscreen, come up to the Keyer node and
| | 00:26 | select an IBKColour node.
| | 00:30 | Select the greenscreen, Shift+Click on
the IBKGizmo, branch it off to the side.
| | 00:38 | Connect the Color node to the C input
of the Gizmo and connect the background
| | 00:42 | input to our background plate.
| | 00:44 | You are going to want to have two
Viewers set up for the IBK Keyer.
| | 00:48 | So, we'll select the IBKGizmo, add
another Viewer, come up to the Viewer pane,
| | 00:56 | split that horizontally and move
the Gizmo tab over to this side.
| | 01:03 | We can now keep an eye on the
IBKGizmo and the IBKColour at the same time.
| | 01:08 | I like to have the Color node over
here at the top of the Properties bin and the
| | 01:15 | IBKGizmo down below.
| | 01:17 | It just keeps it kind of neat for me.
| | 01:19 | The first thing we want to
do is set the screen type.
| | 01:23 | Is this a blue screen or a green screen?
| | 01:26 | The default is blue.
| | 01:27 | So, here in the IBKColour, we are
going to set it for the green screen.
| | 01:32 | The IBKGizmo is also default for blue.
| | 01:35 | So, we are going to set it for greenscreen.
| | 01:37 | Now I am going to choose C-green,
because we are using the Color node.
| | 01:43 | If we weren't, if we were using
a solid color, we would use Pick.
| | 01:46 | But that's another case.
| | 01:47 | We will take a look at that in a few minutes.
| | 01:49 | So, I want to choose C-green and
already, we have got a pretty darn good-looking
| | 01:55 | map and we haven't even adjusted anything.
| | 02:00 | Be sure to leave the default
settings in the Gizmo node while we are
| | 02:03 | adjusting the Color node.
| | 02:06 | The first adjustment here is the size.
| | 02:08 | You very rarely have to change this.
| | 02:11 | That parameter controls the amount
of dilation and blurring that goes on
| | 02:15 | to create the green screen plate.
| | 02:16 | The first thing we are going to do is adjust
the darks and lights for the backing color.
| | 02:22 | Since it's the greenscreen, we will go to
the green, darks first, and bring it down.
| | 02:28 | Now, I went too far, so I am going
to move over and bring it up and dial
| | 02:32 | in until we get the backing color cleared
out without the hurting the alpha channel.
| | 02:40 | If I go too far, watch what
happens to the backing region.
| | 02:44 | I start to get in contamination in the corners.
| | 02:46 | So, I am going to back that up until
I get a nice, clear backing region.
| | 02:52 | Next, we will go the green
lights and bring that down.
| | 02:55 | What we're trying to do is get rid of
all the red that we see around this edge
| | 03:00 | without contaminating the
colors in our backing region.
| | 03:03 | So, I've gone a little too far, so I am
going to tab that back up till I cleared
| | 03:07 | up the backing the region and that's
as far as I can take that adjustment.
| | 03:14 | Next, we want to get rid of any
colored fringes around here and we do that by
| | 03:18 | eroding the black region out to cover them up.
| | 03:22 | So, we will go to the Erode slider and
move that out till we have gotten rid of
| | 03:30 | most of the discolorations.
| | 03:37 | Next, we want to collapse the black area,
shrink it down to nothing, so we have
| | 03:40 | a nice, clean background plate.
| | 03:42 | We will go to the black patch, tab that up.
| | 03:46 | The black patch gets smaller until it's gone.
| | 03:50 | We now have a nice, clean
background plate to use for the Gizmo.
| | 03:54 | Now we didn't do anything with the darks
and lights for the Red or the Blue channels,
| | 04:01 | so let me show you what those are all about.
| | 04:02 | I am going to add a little
problem for the IBKColour node.
| | 04:06 | I have introduced some pixels that are
similar to the backing color, but this
| | 04:11 | one is a little heavier in the blue and
this one is a little heavier in the red.
| | 04:15 | That's what these adjustments are for.
| | 04:18 | To get rid of the blue patch on top, I
will go to the blue lights and raise those
| | 04:22 | up until that guy disappears. Okay, too far.
| | 04:28 | I will back off. I want to find
just where it goes away.
| | 04:32 | So, that took care of the blue one.
| | 04:35 | The other patch is heavy in the reds.
| | 04:38 | So, I will go to red lights and tap
those up until he disappears and he is gone.
| | 04:45 | I will restore those back to their
defaults and then we'll get rid of the little
| | 04:51 | test patch and move that off to the side.
| | 04:59 | Sometimes, code value 0 in the
greenscreen will cause the IBKColour node to put
| | 05:04 | white pixels in its output.
| | 05:05 | So, if that ever happens to you, just put
in a Clamp node and clamp the blacks to
| | 05:10 | like .001, just slightly above 0
black, and your white pixels will go away.
| | 05:16 | We will re-home that greenscreen
and now we will take a look at the
| | 05:21 | IBKGizmo adjustments.
| | Collapse this transcript |
| Adjusting the IBK Gizmo node| 00:00 | Now that we have the IBKColour node adjusted,
the next step is to adjust the IBKGizmo node.
| | 00:08 | Now you always want to do these
adjustments while watching your composite.
| | 00:11 | So, we'll switch back to the RGB mode
and I'm going to attach a Merge node, hook in
| | 00:17 | the background, and now we can watch the
composite and the alpha channel while we
| | 00:22 | adjust the IBKGizmo node.
| | 00:24 | I'm going to widen the Viewer
so we can more of our matte.
| | 00:28 | I am also going to set a gamma
| | 00:30 | value of .05, because we're
going to want to slam the gamma
| | 00:35 | as we inspect our composite,
looking for transparency and holes.
| | 00:38 | We have several holes. In fact, we're
going to have more holes when we're done,
| | 00:41 | but we're going to fill those in
with a core matte in a little bit.
| | 00:45 | We'll switch back to look at our
composite and turn off some of these menu bars
| | 00:50 | that we don't really need, to give us a
little more screen space here. And I will
| | 00:54 | put the Gizmo and the Color node back
in the Properties bin, because I like to
| | 00:57 | have them stacked up like this.
| | 01:00 | The first Gizmo adjustment is the colour.
| | 01:02 | This is only used when you have the Pick option.
| | 01:05 | We'll be taking a look at
that case in just a minute.
| | 01:07 | So, we'll go back to our C- green setting.
| | 01:11 | The next adjustments are the red
weight and the blue/green weight.
| | 01:13 | Now what's this blue/green thing doing here?
| | 01:16 | If this is a green screen, this
is really just the blue weight.
| | 01:20 | If it's a blue screen, this is
really adjusting the green weight.
| | 01:24 | These two adjustments affect the
matte density. Let's take a look.
| | 01:29 | We'll switch the Viewer
over to the alpha channel.
| | 01:32 | As I slide the red weight down,
the matte density gets a lot thinner.
| | 01:36 | I've introduced terrible
transparency in my picture.
| | 01:38 | I'll go in the other direction.
| | 01:40 | It makes it harder.
| | 01:42 | We'll set that back to the default.
| | 01:44 | Now it looks like the blue/green
weight is not having much of an effect.
| | 01:48 | That's because there's very
little blue in the RGB channels.
| | 01:52 | However, if I slam the gamma
| | 01:54 | and show you the blue weight again,
you can see it is having a small effect.
| | 01:59 | So, these two affect the RGB channels.
| | 02:02 | Where there's a lot of red,
this will take effect.
| | 02:05 | Where there's a lot of blue,
this slider will be down dominant.
| | 02:10 | Looking back at our composite, what we want to
do is get rid of the green frill in the hair.
| | 02:15 | This is coming from the green
screen blending with the edge pixels.
| | 02:19 | As I harden the matte up, I get more
and more of the backing color mixed with
| | 02:23 | her hair, which is not nice.
| | 02:25 | So, we're going to slide this down to color
the hair until it looks nice. That looks good.
| | 02:30 | We are going to take a little bit of the
blue weight down, maybe to about there,
| | 02:35 | and let's say we like that.
| | 02:36 | We've got good hair color now.
| | 02:38 | While we're talking about the red and
blue weights, I wanted to show you the
| | 02:44 | effect of the black patch.
| | 02:46 | I'm going to dial down the black patch
here and introduce this black hole and
| | 02:50 | dial down a little bit more.
| | 02:52 | Let's take a look at our alpha channel.
| | 02:53 | If we slam the gamma, the alpha
channel has a solid core where you
| | 03:02 | see the black patch.
| | 03:03 | If I lower the black patch
further, the solid core gets larger.
| | 03:07 | You want to make sure that that core
doesn't hit any of the semi-transparent
| | 03:10 | regions of your composite.
| | 03:12 | If we switch back to the compositing
view, if the black patch is too large,
| | 03:23 | you'll actually see it starting to poke out
from underneath the character, here and there.
| | 03:28 | So, you want to bring that black patch
down to where it doesn't show anywhere
| | 03:32 | around the edge of your character.
| | 03:34 | And also, sometimes, it will
introduce colorations in the non-solid parts.
| | 03:41 | So, you want to be sure, and generally
take that guy down to a nice solid clean
| | 03:45 | black so that you get a uniform
composite everywhere. All right!
| | 03:51 | We'll shrink this window back
here, return to our composite.
| | 03:56 | Now as we saw, our red and blue weight
settings have left a semi-transparent
| | 04:01 | region actually in several places.
| | 04:02 | We're going to - again, we'll return to
that shortly by introducing the a core
| | 04:06 | matte to fill that in.
| | 04:08 | The next adjustment we want to
look at is the luminance match enable.
| | 04:12 | The luminance match enable firms up the
alpha channel in light areas, such
| | 04:16 | as this highlight here or thin wispy
hair edges, or motion blurred elements.
| | 04:23 | To see its effect, let's switch over to
the alpha channel and as I turn it
| | 04:27 | on and off you can see how it's beefing up the
alpha channel out here in the thin areas.
| | 04:33 | Also, keep an eye on this hot spot here.
| | 04:36 | Switch to the alpha
channel, slam the gamma,
| | 04:38 | you see we have a hole in it.
| | 04:41 | The luminance match enable
helps to fill in that hole.
| | 04:43 | So, we'll put this back.
| | 04:47 | Once you've done the luminance match enable,
you now have to adjust the screen range.
| | 04:52 | Watch what happens when I move
the screen range slider to the left.
| | 04:55 | You see it cleared the noise out of the
backing region, but it also is hardening
| | 05:00 | up the edges of the matte.
| | 05:01 | You can see that here.
| | 05:06 | So, what's the adjustment for the screen range?
| | 05:08 | What you do is you lower the screen
range until it stops changing the background.
| | 05:13 | You can see there's no change down here.
| | 05:15 | So, you find the spot where the
backing just stops changing and you leave the
| | 05:19 | screen range right there.
| | 05:22 | If there's too much noise left in the
backing region, you may want to Degrain
| | 05:26 | the green screen before pulling the key.
| | 05:29 | The next adjustment, the
luminance level, you can ignore.
| | 05:32 | It really doesn't have much of an
effect and, in fact, is not very effective
| | 05:36 | at all and I understand it's going to be
removed from the next version of the IBK Keyer.
| | 05:41 | Coming down here to the autolevels.
| | 05:43 | The autolevels toggle is used for
special cases of supersaturated colors.
| | 05:49 | We don't have any in this particular
composite, so we're going to take a look at
| | 05:52 | that in a minute on another test.
| | 05:56 | Now that we've adjust to the IBKGizmo
node for our best matte, in the next video,
| | 06:00 | we'll see how to adjust
the edge characteristics.
| | Collapse this transcript |
| Adjusting the edges| 00:01 | For the last section, we want to look
at our composite, and these three toggles
| | 00:05 | down here. None of these toggles have
any effect on the Alpha Channel at all.
| | 00:10 | They all affect just the pixel edges, the
blending edges around the perimeter of the matte.
| | 00:18 | The first one, Screen Subtraction, defaults on.
| | 00:22 | It's subtracting the backing color
from the edges of your composite.
| | 00:26 | If you turn it off, all of a sudden
we can see lots of nasty, green pixels.
| | 00:30 | Normally, you are going to leave this on.
| | 00:33 | This is not Spill Suppression.
| | 00:35 | The IBKGizmo has no Spill Suppression.
| | 00:38 | And if you have a green spill in the
interior of your character, you are going
| | 00:42 | to want to add your own spill
suppression after the IBKGizmo Node.
| | 00:45 | Now, let's take a look at this
toggle, Use background luminance.
| | 00:51 | Turning this on and off
causes the IBKGizmo to factor in -
| | 00:55 | remember, the background is connected here -
| | 00:57 | so it factors in the background pixel
colors into the output for the foreground.
| | 01:04 | Turning it on, it will actually
brighten or darken the edges based on
| | 01:09 | whatever the background is.
| | 01:10 | Now this may or may not improve your composite.
| | 01:14 | This last toggle uses the chroma, or
color, from the background to influence the
| | 01:19 | edges of the composite.
| | 01:21 | You may have one or both turned on, or
both turned off, whatever looks best.
| | 01:26 | In this particular case, having
them both off seems to look nice.
| | 01:30 | In our next movie, we are going to
take a look at how to fill in those
| | 01:32 | transparencies in our core matte.
| | Collapse this transcript |
| Filling in the core matte| 00:01 | Now it's time to take a look at the
Transparency in our Alpha Channel, putting
| | 00:04 | this hideous mark on her face.
| | 00:06 | We will switch to the Alpha Channel and
slam the Gamma, so we can see our transparency.
| | 00:15 | You can fill in with the
core_matte anyway you like, with any keyer.
| | 00:19 | You could use another IBK Keyer, you
could use Primatte, anything you want to
| | 00:23 | fill in the core_matte here.
| | 00:24 | So, I am going to hook in my core_matte to
the IBK Gizmo, and we will take look at that.
| | 00:30 | You can see I have much firmer Alpha
Channel now, compared to the IBKGizmo output.
| | 00:37 | So, we will turn the Viewer Gamma back
to normal, switch to the RGB channels and
| | 00:43 | you can see that they are absolutely identical.
| | 00:45 | The only difference is I firmed up the matte.
| | 00:47 | When we look at the composite, I can now
switch the input of the composite to my
| | 00:53 | core_matte and fill in
the transparency problems.
| | 00:58 | Back to the original IBK Alpha
Channel, my core_matte channel.
| | 01:04 | So, there we have it.
| | 01:05 | Now, let's take a look at our
finished composite by doing a Render.
| | 01:10 | Nuke has cached the entire shot now.
| | 01:12 | And as you can see, we have very
nice hair detail, nice, clean edges and a
| | 01:17 | very firm Alpha Channel.
| | 01:19 | Of course, you are going to want to add
your own Edge Blending, Light Wraps and
| | 01:22 | other visual effects,
| | 01:23 | but this is your basic IBK Keyer
workflow, a very nice composite.
| | 01:29 | Earlier, we skipped over the Auto Levels feature.
| | 01:31 | Now, let's go back and take a
closer look at it in our next video.
| | Collapse this transcript |
| Autolevels| 00:00 | The Auto Levels is designed to
cope with very saturated colors.
| | 00:05 | We didn't have any in our current composite,
| | 00:07 | so I have prepared this test
pattern, so you can see the effect.
| | 00:10 | When supersaturated colors like these
are keyed and composited, results tend to
| | 00:15 | give you dark edges or colored fringes.
| | 00:18 | The autolevels toggle is
designed to cope with this.
| | 00:22 | It trims the matte to shrink it down
to get rid of these artificial edges.
| | 00:27 | The autolevels toggle is over here,
and it enables all the other three.
| | 00:32 | So, with it turned off, none
of these have any effect at all.
| | 00:35 | I turn the autolevels on, and you could
see it got rid of the dark edges, but it
| | 00:40 | has also introduced some discolorations in
the Cyans and the Yellows. There you go!
| | 00:46 | Also, if we look at the Alpha Channel,
when I turn on the autolevels, I lose
| | 00:52 | Opacity in the same Yellows
and Cyans in the Alpha Channel.
| | 00:57 | So, to guard against that, you turn
on the autolevels, and if you want to
| | 01:01 | protect the Yellows, you
click the Yellow button.
| | 01:04 | So, that protects the Yellows
from the autolevels setting.
| | 01:08 | If you want to protect the Cyans,
you turn on the Cyan button.
| | 01:12 | With both of these toggles turned on,
you have completely disabled the whole
| | 01:15 | autolevels algorithm.
| | 01:17 | It's the same as having it turned off entirely.
| | 01:20 | So, in a composite, if you have
those dark or colored fringes, try the
| | 01:24 | autolevels button to see if it helps.
| | 01:26 | More than likely, it'll help one part of the
picture but ruin the rest of the composite.
| | 01:31 | So, what you'll have to do is isolate
the area that it helps and composite that
| | 01:36 | separately from the rest of the picture.
| | Collapse this transcript |
| Using the IBK Gizmo color pick mode| 00:01 | If your green screen has a very uniform
backing color, then you may not need to
| | 00:04 | use the IBK Color node.
| | 00:06 | That's what the Color Pick mode in the
IBKGizmo was designed for. Let's take a look.
| | 00:13 | It's designed for a situation like this,
where you have a green screen or a blue
| | 00:17 | screen that has a very uniform backing.
| | 00:20 | In the situation, you don't need to use
the IBK Color node to create a clean plate.
| | 00:25 | We can plug this plate directly
into the IBKGizmo and dial it in.
| | 00:29 | We will put the Gizmo up in the Property Bin.
| | 00:31 | And first thing we'll do is check the
Screen Type and set it for Pick or Color Pick.
| | 00:37 | Now, the color here is going to be the
color of the backing screen and we are
| | 00:41 | going to pick that by turning on the Eyedropper.
| | 00:44 | If I try to pick the backing color
off the output of the IBKGizmo node, you
| | 00:49 | see Nuke goes insane as it toggles between
the black and the green and black and the green.
| | 00:53 | This is another situation
where two viewers will help.
| | 00:56 | So, we will come down here to the
original green screen, add a viewer,
| | 01:01 | come up to our pane and split it
horizontally, and I am going to the move the
| | 01:06 | IBKGizmo to the right.
| | 01:09 | On the left is the original green screen.
| | 01:12 | Now, I can pick off the original
green screen, like this, and the IBKGizmo
| | 01:17 | node does not go insane.
| | 01:19 | Checking the Alpha Channel, I can now
cruise around, sampling different areas,
| | 01:24 | looking for the sweet spot.
| | 01:27 | So, let's say I am happy with that.
| | 01:28 | I will go back to the RGB mode.
| | 01:31 | Now, I will set my viewer to
look at the finished composite.
| | 01:35 | You're now ready to go into the IBK
Gizmo and dial it in for the best look.
| | 01:41 | In our next video, we're going to take
a look at a series of classic workflow
| | 01:44 | tips like how to color correct when
you're working with the IBKGizmo and how to
| | 01:49 | transform the background.
| | Collapse this transcript |
| Adding more control to blended edges| 00:01 | Here is a workflow tip on how to add
more control to the blended edges of your
| | 00:04 | composite when working with the IBK Keyer.
| | 00:08 | We are looking at the output of the
IBKGizmo here, and I have added a Grade node
| | 00:13 | between the background
and the input to the Gizmo.
| | 00:17 | Double-click on that.
| | 00:19 | To use this, you have to have
either the background luminance or the
| | 00:22 | background chrominance turned on.
Otherwise, the background has no effect on
| | 00:26 | your blended edges.
| | 00:28 | So, with those turned on, if we go to
the Grade node, and for example, increase
| | 00:33 | the gamma, it lit up the
edges of the output of our Gizmo.
| | 00:38 | We can take a look at the
Color Grade node, and see why.
| | 00:42 | The background plate is being seriously
changed and it is the input to the Gizmo.
| | 00:47 | So, those pixels become blended with the output.
| | 00:49 | Looking at our composite, we can see it
changes the edges of our composite quite nicely.
| | 00:55 | So, this is a technique that you can
use to add more control to the blended
| | 00:58 | edges of your IBK Keyer composites.
| | 01:06 | In the normal flow of things, you are
going to want to apply a Color Grade to
| | 01:10 | the output of your IBKGizmo to
color correct it over the background,
| | 01:14 | but this introduces a problem.
But there is an easy fix. Here is the issue.
| | 01:19 | Let's take a look at the output of this
Grade node directly, and remember, in our
| | 01:23 | IBKGizmo, we have got background
luminance and background chrominance turned on,
| | 01:27 | so we are getting edge blend
pixels from our background plate.
| | 01:31 | Let's take a look at what we have got.
| | 01:33 | You can actually see the background up here.
| | 01:35 | I have used this CheckerBoard background
to make it easier to see what's going on.
| | 01:38 | Now, if I adjust just this Grade node -
for example, I will do a severe color
| | 01:44 | correction here - the blended pixels
with the background plate have also been
| | 01:49 | graded up, and you don't want this.
| | 01:52 | You want those to remain their original color.
| | 01:54 | So, the way we will deal with this is we
will apply a reverse color grade to the
| | 01:58 | incoming background plate, like this.
| | 02:01 | Select the Grade node, copy, paste it, put it
in the Property bin, and set it for reverse.
| | 02:08 | Then we will hook it in.
| | 02:11 | We've now applied a reverse grade to
the background plate before it came into
| | 02:15 | the IBKGizmo. It has been darkened by
exactly the same amount that this Grade
| | 02:19 | node has brightened it.
| | 02:20 | We have now restored the background
blended pixels to the same color as the
| | 02:25 | original background.
| | 02:27 | Now when we look at the composite, our
edge blended pixels are more natural.
| | 02:32 | You can see the difference, as I toggle
the compensating Grade node on and off.
| | 02:44 | Very often, we want to apply a
transformation to the background prior to the composite.
| | 02:50 | With the IBK Keyer, this can introduce an issue.
| | 02:52 | Let's take a closer look at our composite here.
| | 02:55 | Again, I am using a CheckerBoard
pattern because it shows the problem better.
| | 03:01 | I am going to move the Viewer over to
the IBK Gizmo output, and we can see the
| | 03:06 | edge blended pixels from the background.
| | 03:09 | This comes from the fact that our
background is an input to the IBKGizmo.
| | 03:13 | Returning to the composite, as I toggle
the background Transform on and off, you
| | 03:18 | can see that the edge blend
pixels don't move with it.
| | 03:22 | That's because they are from the
original input, not the transformed input.
| | 03:26 | So, there are two easy
solutions for this problem.
| | 03:28 | One is you can make a clone of the
Transform operations, then apply it to the
| | 03:32 | background input of the IBKGizmo,
| | 03:35 | or, connect the background input
to the IBKGizmo directly to the
| | 03:39 | Transform themselves.
| | 03:40 | Now they will all move together,
and you will have a lovely composite.
| | 03:45 | The IBK Keyer is often used as one part
of a larger compositing workflow, often
| | 03:51 | called the soft matte, hard matte workflow.
| | 03:54 | The IBK Keyer is extremely good at
pulling a soft edged matte and compensating
| | 03:59 | for the uneven green
screens or blue screen backings.
| | 04:03 | But sometimes getting a good solid
core_matte is a little difficult, so here we
| | 04:07 | are going to take a look at a broader
workflow, how the IBK Keyer is used as
| | 04:11 | part of a larger compositing setup.
| | 04:15 | Starting with our green screen here,
the IBKColor creates a clean plate.
| | 04:21 | The IBKGizmo creates a soft
edged matte, very nice, soft edges,
| | 04:26 | but maybe it's got some transparency in it.
| | 04:31 | So, we will back that up, with a hard_
matte, and then we will bring the two
| | 04:36 | together here. So this
represents the final matte,
| | 04:39 | that combines the soft and
the hard mattes together.
| | 04:43 | Starting back at the green screen, we
would do a separate spill_suppression.
| | 04:47 | Then we want to bring together
the hard_matte created here, and the
| | 04:51 | spill_suppressed foreground there, and
we would do that right here, and now we
| | 04:56 | have our finished matte with
our spill_suppressed foreground.
| | 04:59 | Thus, we have our background here,
and we do a composite here using an
| | 05:04 | AddMix node or Merge node.
| | 05:07 | The AddMix node is very cool, because
you can blend you edges in it very nicely.
| | 05:12 | So, don't hesitate to use the IBK
Keyer as the component of a larger
| | 05:16 | compositing workflow.
| | Collapse this transcript |
| The great keying delusion| 00:01 | Before we get into the Keymix and
Addmix nodes, it might be good to take a look
| | 00:04 | at why they are so important.
| | 00:06 | The great delusion is that you can take
a Keyer, plug in your green screen and
| | 00:10 | your background, and put out a nice composite.
| | 00:12 | So, here we have a lovely green screen,
over here is a nice background and
| | 00:17 | coming out of Primatte is a lovely composite,
| | 00:20 | but this almost never works in the real world.
| | 00:23 | In the real world, you are going to
have to composite outside of the Keyer,
| | 00:27 | pulling multiple keys, and that's
where the Keymix and Addmix nodes come in.
| | 00:32 | Over here, represents a more realistic workflow.
| | 00:35 | Let me get a little more space here for this.
| | 00:41 | This represents the green
screen, and multiple keyers.
| | 00:45 | Each Keyer will have different settings
in order to pull the optimal matte for
| | 00:49 | different parts of the picture, represented here.
| | 00:53 | Then down here, those mattes would be
combined to form a single master matte.
| | 00:58 | On a separate branch, the green screen
will go to a HueCorrect node for Spill
| | 01:03 | Suppression, or whatever spill
suppression capability you have got.
| | 01:07 | Then after Spill Suppression,
it gets ColorCorrection.
| | 01:10 | Then the color corrected and spill
suppressed version of the foreground comes
| | 01:13 | into a Keymix node with a master
matte that was made over here, and gets
| | 01:18 | composited on to the background.
| | 01:20 | Now there are other organizations than this one.
| | 01:23 | You can pull a key and then do the
composite over the background, and pull
| | 01:26 | another key, and then composite on top
of that one, and so on and so on, until
| | 01:31 | you have layered up a good composite,
| | 01:33 | but in principle, this is how
you are going to be working.
| | 01:36 | And to do the composite, you are
going to need to use the Keymix and the
| | 01:40 | Addmix node.
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| The Keymix node| 00:00 | We will start by looking at the Keymix Node.
| | 00:03 | We will find that over here on the
Merge tab, the second pop-up right here, and
| | 00:08 | there is no QuickKey, so we
will just click on the Keymix node.
| | 00:11 | Now the Keymix Node expects three images:
the foreground, which will be on the A
| | 00:16 | input, and the background on the
B input, and then a Mask input.
| | 00:22 | So, the Keymix node is designed for an
unpremultiplied image.
| | 00:25 | All right. So, let's demonstrate this.
| | 00:28 | Let's go get our CheckerBoard, and we
will hook that up to the A side, and then
| | 00:33 | we will get the ColorBars, hook that up
to the B side as our background, and for
| | 00:40 | the Mask, of course, we will use a Bezier node.
| | 00:43 | Type P on the keyboard, and I will just
make a little shape here, and hook the
| | 00:50 | Viewer to it to show you that
this is a four-channel image, okay.
| | 00:54 | We have got RGB and Alpha, okay that will
be important in just a minute. All right.
| | 00:59 | Now, to do our composite, we hook the
Mask input to the masking element, which,
| | 01:04 | in this case, is the Bezier node.
| | 01:06 | We will switch the Viewer over to the
Keymix node and look at what we have got.
| | 01:10 | If you don't want to see the spline
out here, we will just type O on the
| | 01:14 | keyboard to turn the Overlay Off.
| | 01:16 | We will double-click on the Keymix
node to put him at the top of the
| | 01:19 | Properties panel, and you can see the
Keymix Node is very simple, just some
| | 01:23 | channels to choose,
| | 01:25 | the mask channel here, which is
important and the little mix slider, we will
| | 01:28 | take a look at that in a minute.
| | 01:29 | But I wanted to show you
this mask channel issue.
| | 01:33 | This parameter selects which channel to
use for the input image on the mask input.
| | 01:38 | And it could be any channel. Let me show you.
| | 01:40 | We will go back to the Bezier node,
double-click to put him at the top of
| | 01:44 | the Property panel.
| | 01:45 | I am going to turn off the red, green,
and the alpha channels of the Bezier.
| | 01:51 | Now, there is no red, no green,
lots of blue, and no red for our mask.
| | 02:00 | If we switch back to the Keymix node,
double-click on him to put him at the top,
| | 02:05 | we see we do not have a composite anymore.
| | 02:08 | The reason is the mask channel is
looking at the alpha channel of the Bezier
| | 02:12 | node, but we no longer have the mask there.
| | 02:14 | It is in the blue channel, so we have
to tell this guy from the pop-up to use
| | 02:19 | the rgba.blue channel as our mask,
and we get our composite back.
| | 02:24 | So, the Keymix node is
specifically designed to be used with
| | 02:27 | unpremultiplied images.
| | 02:30 | If you have a premultiplied foreground,
then you'd want to use the Merge node.
| | 02:35 | Okay, for the next part, let's take a look
at using an actually key with the Keymix node.
| | 02:40 | We will start by bringing in a couple
of images. We will go to the Read node >
| | 02:45 | NUKE WORKSHOP > Lesson_05_Media.
| | 02:49 | Let's select the seagull, and the seagull_
sky images and say Open. Bring those in.
| | 02:56 | And now let's pull a simple
luma key on the seagull image.
| | 02:59 | We will select the Read node, come up to
the Keyer tab, and select the Keyer node.
| | 03:07 | And let's hook up a Viewer to the Keyer
node, so we can see what we are doing,
| | 03:12 | and let's clear our Properties panel to
get rid of that Bezier and double-click
| | 03:16 | on the Keyer again to put him
at the top of the Property panel.
| | 03:19 | Again, our default
operation is the luminance key.
| | 03:22 | We will set the Viewer to show the
alpha channel as we dial in our mask. Okay.
| | 03:29 | So, we are going to get a
little luma key going here.
| | 03:33 | Now, if we want the output to be white on black,
| | 03:37 | we can take the output and
set the Invert button here.
| | 03:41 | And now we will come in and
fine tune our luma key. All right.
| | 03:46 | There we go!
| | 03:47 | Now, I want to check to see if I have
any holes in my foreground, so I am going
| | 03:50 | to lower the Viewer gamma
slider, no problem there.
| | 03:53 | If I raise it, I am looking for holes
in my background, so everything is good.
| | 03:59 | Reset the Viewer gamma to default.
| | 04:01 | Now, we are ready for the Keymix node.
| | 04:04 | We will select the Read node for the
seagull, Shift+Click on the Merge Keymix,
| | 04:12 | and again, it's hooked it up to
the foreground like we wanted.
| | 04:15 | Hook the B side to the background, and
we will hook the mask to our Keyer node.
| | 04:24 | Then connect the Keymix node to our Viewer.
| | 04:27 | We have to set our Viewer back to RGB,
and then we can admire our handiwork.
| | 04:32 | Of course, the seagull has a hideous
blue outline from the blue sky, but that's
| | 04:36 | not important right now. So there is
your basic Keymix setup, and here is our
| | 04:41 | mix slider. We talked about that
earlier. Wnd we can use that to dial in the
| | 04:45 | foreground transparency.
| | 04:49 | Again, if you wanted to do this as a
premultiplied object, we would use a
| | 04:53 | slightly different workflow.
| | 04:55 | We could set the Viewer over
here to look at the Keyer output.
| | 05:00 | We could connect to the Keyer,
a Premult node, which performs a
| | 05:07 | premultiply operation.
| | 05:08 | I will put the mask back to
our Keyer node, so we now have a
| | 05:12 | premultiplied seagull.
| | 05:15 | Check the alpha channel here. There we are!
| | 05:18 | Okay. So, if we had a premultiplied image,
then we would use the Merge node.
| | 05:24 | Hook that up to our background and get the
same composite that we got with the Keymix node.
| | 05:30 | So, the Keymix node is performing
the premultiply operation inside.
| | 05:34 | Then it does the inward multiply of
the alpha channel by the background, and
| | 05:39 | then it sums the two together.
| | 05:42 | One important thing about this Merge
operation, with the premultiplied image, is
| | 05:46 | the output of the Merge node alpha channel.
| | 05:48 | We will come up to our Viewer,
and show you the alpha channel.
| | 05:53 | So, the alpha channel from the foreground
came out the Merge node, didn't it? Okay.
| | 05:58 | Well, let us go back to RGB.
| | 06:01 | Now, I am going to delete the Premultiply and
Merge nodes, and hook my Viewer to the Keymix node.
| | 06:07 | We have the same exact composite, right?
| | 06:09 | But look what happened to
our alpha channel. It's gone.
| | 06:14 | The punchline is the Keymix node does
not output the alpha channel that you are
| | 06:19 | using for the composite.
| | 06:22 | Sometimes this will be a problem,
but you need to be aware of it.
| | 06:27 | So, this is the basic setup for the Keymix node.
| | 06:29 | In our next video, we will see how it's used
in conjunction with a Keyer like Primatte.
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| Using Keymix within a keyer| 00:00 | Now let's take a look at the Keymix node used
within the context of a Keyer, like Primatte.
| | 00:05 | So, we will copy our Seagull and
background sky, copy, and paste it over here.
| | 00:11 | We will select the Seagull. Go up to the
Keyer tab and select Primatte and let's
| | 00:19 | attach a Viewer to the Primatte node.
| | 00:21 | Now you may recall, in our Primatte video,
I was explaining that the Primatte does
| | 00:29 | not require a blue screen or
a green screen or a red screen.
| | 00:33 | It can key on any solid uniform color,
which means we can get this blue sky,
| | 00:38 | which is not a very good blue
screen, but Primatte doesn't care.
| | 00:43 | So, we will start by selecting the
Background color. Click on that. Switch to
| | 00:48 | our Alpha channel. Switch our operation
to cleaning the Background noise, so we
| | 00:54 | will clean out our background noise here.
| | 00:56 | Then we will switch our operation
to cleaning the Foreground noise.
| | 01:00 | We will zoom in a little bit. Drop
our Viewer Gamma so we can see better.
| | 01:04 | There we go. Set our Viewer
Gamma back. Re-home the viewer.
| | 01:12 | So, we now have a pretty
decent matte using Primatte.
| | 01:16 | Again, we are going to use the Keymix node
with an unpremultiplied version of the Foreground.
| | 01:21 | So, we will select the Seagull, over
to the Merge tab, Shift+click on Keymix.
| | 01:28 | Again, we are connected to the Foreground.
Hook up our background. Hook up our mask to Primatte.
| | 01:33 | We will set our Viewer to RGB
and then switch to the Keymix node.
| | 01:41 | And there we go and again, no Alpha
channel on the output side, okay. All right.
| | 01:47 | I will get rid of that color
sample box with a simple Command+Click.
| | 01:55 | So, there you have it, the Keymix
node is designed to take three images:
| | 01:59 | an unpremultiplied foreground,
a background and a mask.
| | 02:03 | And don't forget to watch your mask channel.
| | 02:07 | So, the Keymix node is very important.
| | 02:09 | It allows you to composite three
different layers together, but it does not
| | 02:12 | allow you to adjust the
edges of those composites.
| | 02:15 | For that, we need to use the Addmix
node, which we will see in our very
| | 02:19 | next video.
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| How the Addmix node works| 00:00 | All right. Let's clear Nuke and
take a look at the Addmix node.
| | 00:05 | The Addmix node is actually used
to adjust the edges of a composite.
| | 00:10 | If your edges are too dark or too
light, the Addmix node can save the day.
| | 00:15 | Let's see how it works.
| | 00:16 | We will come up the Merge
tab and get an Addmix node.
| | 00:20 | Now you notice it has an A
and B input and no mask input.
| | 00:24 | So, the Addmix node only gets
a foreground and a background.
| | 00:30 | To show you how it works,
let's set up a special test.
| | 00:33 | We will come up to the Image
tab and get a Constant color node.
| | 00:37 | I am going to set the
Constant color node to red,
| | 00:42 | like so. All right. That will be our background.
| | 00:45 | We will come up here.
| | 00:47 | For the foreground, we will get a Bezier node.
| | 00:50 | Type P on the keyboard and we will just
throw something up here, connect that
| | 00:55 | to the foreground, hook our viewer up.
| | 00:59 | Now I want the Bezier to be pure green.
| | 01:01 | So, we will come up to the Bezier
node. Turn off the red and blue channels.
| | 01:06 | Okay, all right now to get rid of the
spline I am going to turn off the overlay
| | 01:11 | by typing O on the keyboard.
| | 01:14 | I also want a real soft edge to
demonstrate this so we will come up to the extra
| | 01:18 | blur and dial that up.
| | 01:19 | It gives us big, fuzzy edge and we will zoom in.
| | 01:24 | So, let's clear the Properties Bin and
double-click on the Addmix to put him at the top.
| | 01:28 | All right. So, here is our setup.
| | 01:31 | The green is the foreground and we can
see here he is in the green channel and
| | 01:36 | the red is the background,
which is in the red channel.
| | 01:40 | We will switch back to the
green, or foreground, channel.
| | 01:47 | The idea is with the Addmix node you
can adjust these curves to adjust the
| | 01:52 | roll off of the foreground or
the background independently.
| | 01:56 | The roll off is affected
by the Alpha channel edge.
| | 01:59 | So, here is our A curve.
To select them, you click on it.
| | 02:04 | Here is our B curve for the
background. Click on that.
| | 02:07 | So, I am going to select
the foreground, the A curve.
| | 02:10 | I am going to insert a control point
with Alt+Command+Click and now in the
| | 02:16 | Viewer, we are looking at the green
channel, which is the foreground, and now as
| | 02:20 | I adjust this curve, you could see
the edges are dramatically affected.
| | 02:24 | We are adjusting the roll off
of the foreground edges, okay?
| | 02:29 | We will switch over to the red channel,
the background, and I will make the same
| | 02:36 | adjustments and you will see that the
background is completely unaffected by
| | 02:40 | the foreground curve.
| | 02:41 | Okay, now we have the background in the viewer.
| | 02:45 | I am going to select the background
curve, insert a key, Alt+Command, and I will
| | 02:52 | adjust that one and you can see that
the background edges are now affected.
| | 02:58 | So, the Addmix node will do the
composite and then it will allow you to adjust
| | 03:02 | the foreground edges and the
background edges separately.
| | 03:06 | You can make the foreground edges darker
or lighter, and the background darker or
| | 03:12 | lighter, either way you want to go.
| | 03:14 | Now let's see how it works with a real image.
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| Compositing with the Addmix node| 00:01 | We will slide over here, clear the
Property panel and let's go get, with a Read
| | 00:07 | node/NUKE WORKSHOP/Lesson_05_Media, the Boy.
| | 00:13 | Let's get that little clip at 12 frames.
Then we'll go back to Read node, go up
| | 00:21 | one, into the Boy_BG, and
select that little clip. Okay.
| | 00:28 | Let's select the Boy and add a
Viewer and we have our green screen.
| | 00:34 | And now we'll see how the Keymix node is
used with just the edges of a composite
| | 00:38 | that was created in Primatte.
| | 00:40 | We will select the Boy's Read node, come up
to the Keyer tab and get ourselves a Primatte.
| | 00:46 | Okay, we will zoom in a little bit,
a little more viewer space here.
| | 00:54 | Our first operation, of course,
is to select the background color.
| | 00:57 | Hold down the Command key.
Select the background.
| | 01:00 | Now we will switch the viewer to the
Alpha channel to see how we are doing.
| | 01:03 | Okay the next operation, we will
clean up the background noise.
| | 01:07 | Select that and do Shift+Command+Click
and drag rectangles until we clean up
| | 01:14 | our background noise.
| | 01:16 | Next operation, we will
clean the foreground noise.
| | 01:19 | Again, Shift+Command and drag
color rectangle until we have cleaned up
| | 01:24 | our foreground noise.
| | 01:26 | This matte isn't perfect, but
that's not important right now.
| | 01:29 | We are just trying to show
you how the Addmix node works.
| | 01:32 | So, we will set the Viewer back to RGB.
| | 01:36 | I'll zoom into the shoulder here to show you an
important output option from the Primatte node.
| | 01:42 | Down here, the Output mode is
composite, or premultiplied, or unpremultiplied.
| | 01:49 | You see the unpremultiplied has
divided the foreground by the Alpha channel
| | 01:53 | whereas premultiplied has scaled it,
or multiplied it by the Alpha channel.
| | 01:58 | This is important to our
Addmix node. All right.
| | 02:02 | Let's clear the Properties Bin.
| | 02:05 | With the Primatte node selected, we will
go to Merge tab and add the Addmix node.
| | 02:12 | Hook up the background and
now let's zoom into the edges.
| | 02:17 | Remember, I promised you that
this node would affect the edges.
| | 02:21 | One very important point, right
here, the premultiplied option -
| | 02:25 | if you turn that on, you are saying,
"Yes, my foreground is premultiplied, which
| | 02:32 | this one is, so I need to turn it on."
| | 02:35 | Look at the dark edges that went away. Okay.
| | 02:37 | I am going to turn it off. See the dark
edges? Turn it back on and it fixed them.
| | 02:43 | If the foreground is already
premultiplied and you don't tell Nuke, it performs
| | 02:49 | another premultiply operation.
| | 02:51 | So, your composite gets
double premultiplied dark edges.
| | 02:56 | So, if that foreground input is
premultiplied, be sure to turn this on. All right.
| | 03:01 | Now we are going to adjust the foreground and
the background edge roll off with our curves.
| | 03:06 | We will start with the foreground.
| | 03:08 | We will come here and select the
A curve, insert a control point,
| | 03:11 | Alt+Command+Click, and then we will
drag the foreground curve and you can see
| | 03:16 | those edges lighting up.
| | 03:17 | And of course, I can darken them up.
| | 03:19 | Okay, all right. So, I am
happy with my foreground.
| | 03:23 | I now select the background curve.
| | 03:26 | Insert a key, Alt+Command+Click,
and adjust the background.
| | 03:32 | And I adjust it for the best appearance overall.
| | 03:36 | Now the important thing to remember is
that these curves did not just affect my
| | 03:40 | shoulder, they affected all of the
edges of the composite everywhere.
| | 03:45 | So, other parts of the composite,
the edges might have been made worse.
| | 03:50 | So, you will often wind up having to
mask off different part of the edges in
| | 03:54 | order to adjust them
separately with different Addmix nodes.
| | 03:58 | In this movie, we saw how the
Keymix node was used for unpremultiplied
| | 04:02 | images with a mask, so you will need
three images, the foreground and the
| | 04:06 | background and the mask.
| | 04:08 | We also saw how the Addmix node is
used to adjust the edges of your composite
| | 04:13 | and we will take either a premultiplied
or an unpremultiplied, but you have to
| | 04:17 | make sure to set that little
premultiplied switch correctly.
| | 04:22 | The danger, though, is with the Addmix
node is while you fix the edges in one
| | 04:26 | spot, you might make them worse in another.
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| The Read node| 00:00 | Now it's time to take a look at
how we do clip timing in Nuke.
| | 00:04 | This would be things like reading a
frame range, or doing a held frame, or
| | 00:08 | shifting the sync of a
clip, or even re-timing a clip.
| | 00:12 | We will start by looking at the Read
node, because there are some important clip
| | 00:16 | timing capability right in the Read node.
| | 00:19 | So, let's go get a Read node and we
will go to our Workshop/Lesson_05_Media
| | 00:27 | and down here's the Numbers clip.
| | 00:29 | This is a special clip that I made
for us, that we can use to test all of
| | 00:33 | these timing nodes.
| | 00:34 | We will open that up.
| | 00:37 | This clip simply has numbers 1 to 100,
which will make it very simple for us to
| | 00:41 | see what's going on in
all of these timing nodes.
| | 00:44 | Okay? All right, so we will stop that,
go back to Frame 1 and come up to the
| | 00:50 | frame range in the Read node.
| | 00:53 | If we change this first number to 20
and then the next number to 80, this says,
| | 01:00 | "I'm only going to read
frames 20 to 80 off the disc."
| | 01:04 | So, we come down to the timeline and
we cruise up here and we see nothing
| | 01:08 | happens until we get to frame 21.
| | 01:11 | So, this is frame 20,
| | 01:12 | is the real frame 20, all of these
are held frames back here, and then it
| | 01:16 | starts incrementing.
| | 01:17 | Then it will play the clip, until it
gets to frame 80, and then it will stop.
| | 01:23 | So, the Read node is only reading
in frame 20 through 80. All right.
| | 01:29 | We will put the playhead down here between
frame 1 and 20, which is our held frame range.
| | 01:34 | Now, the before condition is to hold that frame,
but we have other possibilities. We can say loop.
| | 01:41 | Now that loop means to loop
the frame range that is selected.
| | 01:45 | So, we are looping frames 20 to
80, right here in the beginning.
| | 01:50 | So, this will roll up to 80 and
then wrap around to 20. All right.
| | 01:57 | Put the playhead back there and we will set
the before condition to bounce, or ping-pong.
| | 02:03 | So, that means it's going to count down
to 20, play it backwards, and then hit 20
| | 02:07 | and start rolling back up again.
| | 02:09 | So, this is your ping-pong mode, okay?
| | 02:15 | And the last option is, of course,
black, so the Read node will put out black
| | 02:21 | all the way through this frame range
until you get to the first frame that
| | 02:24 | you supposed to read, which is frame
20. Then you will get all your frames.
| | 02:28 | And, of course, the exact same options exist
here on the backside loop, bounce and black.
| | 02:34 | Now the Read node's behavior, if you
bring in a single still frame, is it will
| | 02:38 | hold that frame to infinity.
| | 02:40 | So, I am going to click Revert to
restore the Read node back to the condition
| | 02:47 | it was when I first opened it and then set
the playhead back to frame 1 on the timeline.
| | 02:52 | Well, now that we have seen what the
Read node can do, if we want to do a held
| | 02:57 | frame, we actually don't
have to use a separate node.
| | 03:00 | We will see that in the next movie.
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| The FrameHold node| 00:00 | Now if we want to do a held frame out
of a clip, we use the FrameHold node.
| | 00:06 | Select the Read node, come up the
Time Tab and click on FrameHold.
| | 00:13 | I am going to move this over here and connect
the original Read node to Input 2 of the Viewer.
| | 00:21 | If we set the first frame, in the
FrameHold node to 10, that means to hold Frame
| | 00:26 | 10 for the length of the shot.
| | 00:28 | We have to select the Input Number 1.
There we are, so we are now looking at
| | 00:32 | the FrameHold node and as you can see,
no matter where I scrub in the shot
| | 00:37 | it's holding Frame 10.
| | 00:38 | If I switch to Input Number 2, the
original clip, you can see the Read node is
| | 00:43 | still reading the frames.
| | 00:45 | So, in Nuke, this is how we do a Held Frame.
| | 00:48 | You do not add a second Read node
and go grab Frame 10 off the disc.
| | 00:53 | You put a FrameHold node and you use
this, for example, if you want to draw a
| | 00:57 | roto or a shape around one object in
one frame and then use that in the main
| | 01:02 | composite. This is how you would do it.
| | 01:05 | We will set the playhead back to Frame 1 and
take a look at a slightly different setup.
| | 01:10 | If I set the first frame to 0 and then
set the Increment to 5, the FrameHold
| | 01:16 | node changes behavior and will now bring
in every fifth frame. Okay, watch this.
| | 01:22 | We are on frame 1, 2, 3, 4, 5, 6,
7, 8, 9, 10, 11, 12, 13, 14, 15.
| | 01:32 | So, it now brings in every fifth
frame and holds it for five frames.
| | 01:37 | The next situation we want to look at
is if we want to shift the sync of the
| | 01:40 | clip, moving it left or right in the
timeline. Nuke does not have a Clip
| | 01:45 | Editor, so you got no visual cues. You
have to do it by the numbers, using the
| | 01:49 | TimeOffset node.
| | Collapse this transcript |
| The TimeOffset node| 00:01 | If you need to slip the sync of a clip,
you have to use the TimeOffset node.
| | 00:05 | Select the Read node, come to the Time Tab,
Shift+Click on TimeOffset, and we will
| | 00:14 | set our Input Number 1.
| | 00:15 | Hook that to TimeOffset, so we can
bounce between the TimeOffset node and
| | 00:20 | the original Read node.
| | 00:21 | We will set the playhead back to Frame 1.
| | 00:24 | I am going to close to FrameHold node.
| | 00:27 | We don't need that anymore and we don't need
to Read node, because it's set for the default.
| | 00:31 | All right.
| | 00:32 | How does the TimeOffset work?
| | 00:35 | It shifts the timing of a clip left or
right in time, based on the offset here.
| | 00:40 | Right now, the offset is zero,
| | 00:42 | so there is no shift in the time, but
if I wanted Frame 10 to start on this
| | 00:48 | clip, I would say set it for -9.
| | 00:54 | Now on Frame 1, I'm getting Frame 10.
| | 00:57 | So, on Frame 1, I get Frame 10 and then
all the subsequent frames come in after that.
| | 01:03 | Okay, back to our show.
| | 01:05 | We will set the playhead back to
Frame 1 and come up to the TimeOffset and
| | 01:10 | I will set it for 9.
| | 01:12 | Now I have shifted the clip to
the right, if you will, 9 Frames.
| | 01:17 | That means I don't get my first real
Frame 1 until I get up to Frame 10.
| | 01:21 | So, Frame 10 is now the real Frame 1
and Frame 11 starts incrementing through
| | 01:27 | the Frame numbers, and all the
frames before that are simply Held Frames.
| | 01:33 | The TimeOffset node also
contains a Reverse Print feature.
| | 01:37 | I will set the TimeOffset back to 0.
| | 01:39 | If I turn on Reverse Print, go to
Frame 1, it now plays the clip backwards.
| | 01:45 | Okay, so use the
TimeOffset node to do Reverse Prints.
| | 01:50 | It's a one click function.
| | 01:54 | In our next video, we'll take a
look at how to do speed changes, using
| | 01:57 | the Retime Node.
| | Collapse this transcript |
| The Retime node| 00:01 | Now so far, we've been looking at
frame ranges, held frames and shifting
| | 00:05 | the sink of a clip,
| | 00:06 | but none of these have
actually changed the timing of a clip.
| | 00:10 | To do that, we are going to need the Retime node.
| | 00:15 | To get a picture to work with, we will go our
workshop/Lesson_05_Media/the Numbers clip.
| | 00:21 | Bring that in.
| | 00:24 | Go to the Time tab and get a Retime node.
| | 00:27 | Hook that up to the viewer.
| | 00:31 | And we will make a little
bit more room for our viewer.
| | 00:34 | We don't need the Read node Property
panel anymore, so we will close that.
| | 00:37 | So, the Retime node changes the speed
of a clip, but it only has very simple
| | 00:43 | interpolation capabilities.
| | 00:44 | It can do frame duplication, or frame averaging.
| | 00:48 | If you need sophisticated interpolation,
like optical flow, you will have to
| | 00:52 | use the OFlow node.
| | 00:53 | Now the Retime node has two
different ways of changing the speed.
| | 00:57 | You can set the speed or set
an Input, Output frame range.
| | 01:01 | We will start looking at the speed.
| | 01:03 | We will set the speed to 0.5.
| | 01:06 | That has slowed down the clip.
| | 01:08 | And now it's going to play at a half speed.
| | 01:11 | We get to the end of the clip,
frame 100, and we've only gone through 50
| | 01:17 | frames of our clip. There.
| | 01:20 | This is now a double print.
| | 01:21 | If I go to frame 1 and single-step
through it, you can see every input frame is
| | 01:27 | being printed twice, 1-2, 1-2, 1-2, 1-2.
| | 01:32 | I will change the speed
to one-third, or 3, 3, 3, 3, 3.
| | 01:38 | We now have a triple print.
| | 01:40 | Every frame will be held for 3, 1-2-3, 1-2
-3, 1-2-3, and there is your triple print.
| | 01:49 | To do is skip print, we will set the speed to 2.
| | 01:52 | Now, I am going to go through the
frames twice as fast, so by frame 50, it's
| | 01:58 | gone through all 100 frames.
| | 01:59 | Now, to turn off the frame averaging,
simply go up to the filter and set the
| | 02:06 | filter type to nearest.
| | 02:09 | And now there's no frame averaging.
| | 02:15 | If I want frame averaging, for example,
I will turn the speed up faster to 3.
| | 02:19 | I will turn the filter to box
and now we've got frame averaging.
| | 02:29 | And how much the frames are
averaged depends on your shutter setting.
| | 02:33 | So, as you narrow this down, it's
averaging fewer and fewer frames together.
| | 02:39 | You can turn it up and it
will average more frames.
| | 02:42 | We will turn on the Input frame ranges
for 1 and 100 and the Output for 1 to 50.
| | 02:53 | Here we go, 50.
| | 02:56 | Notice that it has discreetly updated
the speed to 2, because that's logically
| | 03:01 | the same as a speed of 2.
| | 03:04 | We now play this and it's gone
through the whole shot in 50 frames.
| | 03:09 | And indeed, when I get to frame 50 in the
timeline, I've got frame 100 on the input clip.
| | 03:16 | So, there you go.
| | 03:17 | If I want to slow it down, I would say
the input range, for example, would be
| | 03:22 | 1 to 50. So, the first 50 frames of the clip
will be output to frame 1 to 100 in the timeline.
| | 03:31 | And now it's going to play at half speed.
| | 03:34 | By the time I get to frame 100, I've
only gone through 50 clips and indeed,
| | 03:38 | the speed number here has been updated for me.
| | 03:42 | And over here is a reverse button, in
case you want to play the clip backwards.
| | 03:47 | In Nuke 5.2, they added some
functionality to the Read node, and now it
| | 03:52 | duplicates many of the functions
that you'll find in the Retime node.
| | 03:55 | We will see that in our very next video.
| | Collapse this transcript |
| Upgrades to the Read node in Nuke 5.2| 00:00 | Nuke 5.2 has a major new
feature added to the Read node.
| | 00:05 | It allows the Read node to replace the
Frame Hold, Frame Offset and Retime nodes.
| | 00:11 | Let's take a look.
| | 00:13 | It's up here, at the frame field, and
they've added this pop-up menu right here.
| | 00:19 | With the pop-up menu set to expression,
it becomes identical with Nuke 5.1, where
| | 00:23 | you can add an expression in
this field, such as frame/2.
| | 00:30 | Now the frame numbers read from
the clip are simply divided by 2.
| | 00:35 | The next menu item is new, which is a start at.
| | 00:37 | This says we want to start it at
frame, let's say 10, in the timeline.
| | 00:44 | What that means is whatever the first
frame of the clip is, in this case frame
| | 00:48 | 1, it won't start rolling until we get to
frame 10 in the timeline. Let's take a look.
| | 00:53 | We'll set the playhead back to the
beginning and as I drag the playhead forward,
| | 00:58 | nothing moves until I get to frame 10,
and then it starts incrementing the frame
| | 01:02 | numbers in the timeline.
| | 01:05 | The next new pop-up is offset and that
applies an offset between the frame read
| | 01:10 | off the disk, relative to the timeline.
| | 01:13 | If I set an offset, for example, of 4 and
then we go down to the timeline on frame 1,
| | 01:20 | Frame 1 in the timeline is offset by
4 in the clip so I bring in frame 5.
| | 01:26 | And the offset lasts over
the whole length of the shot.
| | 01:32 | The way to keep it clear is the Frame
range refers to the frame numbers read
| | 01:36 | from the clip, whereas the frame
parameter defines the relationship of the
| | 01:40 | incoming frames to the timeline.
| | 01:43 | While the Nuke 5.2 Read node has
several enhancements, if you need variable
| | 01:48 | speed, the TimeWarp tab over the
Retime node is the only way to go.
| | 01:53 | We will see that in our next movie.
| | Collapse this transcript |
| Variable speed timing| 00:01 | Now we will take a look at the
TimeWarp tab, but to do that, we are going to
| | 00:04 | go get another clip.
| | 00:07 | We will go to Read node/
Workshop/Lesson_05_Media/down here.
| | 00:14 | Let's get the walking_boy,
100 frames. Bring him in.
| | 00:22 | We will clear the property bin.
| | 00:24 | With the walking_boy Read node selected,
go to the time tab and add a Retime
| | 00:30 | node and let's add a viewer to that.
| | 00:37 | Okay, what we have here is a 100 frame clip of
a little boy walking on the green screen.
| | 00:43 | We will select the TimeWarp tab,
a little more screen space here.
| | 00:51 | This curve can be changed to provide a
variable speed change over the length of the shot.
| | 00:55 | The important point is that point 0,0 and
1,1 map to the beginning and end of the clip.
| | 01:03 | So, I am going to
introduce a bend in this curve.
| | 01:06 | First, select the curve.
| | 01:08 | Alt+Command+Click to introduce a
point and I am going to edit it over here.
| | 01:12 | Now this curve says, "start the shot
off slow and then speed it up over
| | 01:17 | the length of the shot."
| | 01:18 | We will go back to the beginning, set this
for one time through, and we will hit Play.
| | 01:32 | And you can see the clip starts slow and
picks up speed towards the end. Let's stop that.
| | 01:40 | Conversely, I'll move the control
point over here to change the curve so the
| | 01:44 | shot starts fast and go slow towards the end.
| | 01:49 | So, we will go back to the beginning of
the clip and play that, and indeed, it starts
| | 01:53 | very fast and gets slow towards the end.
| | 01:59 | You can also use the TimeWarp curve to
change the speed of the shot linearly,
| | 02:04 | like we did on the Retime page, like this.
| | 02:07 | I will delete that button.
| | 02:08 | I am going to move the
control point here, to 0.5.
| | 02:14 | Now, this means to play all the
frames in half the shot length.
| | 02:19 | So, we'll go back to fame 1, play the clip and
indeed, by frame 50, it has run out of frames.
| | 02:26 | So, this was another way to play
it two times faster if you will.
| | 02:32 | But then the question becomes,
'What's the relationship between the TimeWarp
| | 02:35 | curve and the Retime settings?'
| | 02:38 | So, we will put curve back to default.
Go to the Retime page and let's say I
| | 02:48 | set the speed to 2.
| | 02:51 | So, now my clip is going to run out of
frames in the middle of the shot and there we go.
| | 02:57 | So, the question now is what's the
relationship between the TimeWarp curve and the speed?
| | 03:02 | Well, the answer is they work together.
| | 03:06 | I am going to insert a point here in the middle.
| | 03:08 | I am going to bring it up.
| | 03:10 | I am also going to change the
Interpolation to Linear to make it easier to see.
| | 03:16 | So, now, we are going to play fast in
the beginning and then slow at the end,
| | 03:20 | but the question is where does this wind up?
| | 03:23 | The answer is that will wind up on frame 50,
which is what we set on their Retime page.
| | 03:29 | So, we play that, very fast, very slow and done.
| | 03:34 | So, if you have a speed sitting on
the Retime page, the TimeWarp curve then
| | 03:38 | interacts with that. We'll stop this.
| | 03:44 | In this movie, we saw how to set a
frame range in the Read node, and if we want
| | 03:48 | to do a held frame to mask
something off, we use the frame hold node.
| | 03:53 | We also saw how to shift clip timing
by using the TimeOffset node and how to
| | 03:59 | use the Retime node for simple speed changes.
| | Collapse this transcript |
|
|
6. 3D BasicsOverview of the 3D tools| 00:00 | Nuke assumes that the compositor has
some prior background in 3D, in order to
| | 00:05 | fully understand its 3D
compositing capabilities.
| | 00:09 | If you're totally unfamiliar with 3D, you
will find the following material very difficult,
| | 00:14 | so I recommend that you learn a
bit about it before proceeding.
| | 00:18 | The best way to do it is to sit with
a 3D buddy and have them acquaint you
| | 00:22 | with geometric primitives, vertices, surface
normals, lights, cameras, texture maps and shaders.
| | 00:31 | He can skip the character animation stuff.
| | 00:34 | Before we start our tour of Nuke's 3D
navigation, let's take a look at the 3D tool tab.
| | 00:41 | Over here in the tool tab,
this is the icon here.
| | 00:43 | Click on that and the first item is an Axis.
| | 00:47 | This adds a 3D axis to your 3D world.
| | 00:50 | Some people call it a pivot point and
other packages might call it a null object.
| | 00:55 | The next item is the geometry pop-up.
| | 00:58 | These are actual geometric primitives
that you can add to a 3D scene from Nuke:
| | 01:03 | a flat Card, Cube, Cylinder, Sphere,
this node or ReadGeo geometry, OBJ files -
| | 01:10 | and Nuke is capable of managing extremely
large OBJ files, a million polygons or more.
| | 01:17 | And this node will write geometry out to disk.
| | 01:21 | This is the Lights menu.
| | 01:22 | You have Point lights, like a light
bulb, Direct lights, which is really
| | 01:26 | parallel light rays, like from the sun,
and a Spot light and the Environment light.
| | 01:32 | This uses HDR, or High Dynamic
Range, images to light the entire scene.
| | 01:38 | The Modify menu is
really for modifying geometry.
| | 01:42 | You can do transformations and
displacements and distortions and it even will
| | 01:46 | modify Surface Normals and
do UV Protection on geometry.
| | 01:51 | The Shader menu contains shaders
like the Phong shader, Emission and
| | 01:55 | Diffuse, also the Camera Projection and
some nodes for managing your materials.
| | 02:02 | Camera adds a 3D camera to your scene.
| | 02:05 | The Scene node is used to collect
cameras and lights and geometry and shaders
| | 02:10 | into one logical entity, so that
you can attach a ScanlineRender to it.
| | 02:16 | And this is the node that converts the
3D scene to a 2D ScanlineRender to use
| | 02:21 | in your compositing.
| | 02:24 | So, that's a quick
overview of the 3D pop-up menu.
| | 02:27 | In our next video, we're
going to look at the 3D Viewer.
| | Collapse this transcript |
| Navigating the 3D viewer| 00:01 | Now let's take a look at how
to navigate Nuke's 3D Viewer.
| | 00:05 | You'll be needing the keyboard
shortcuts document for this, because we are
| | 00:09 | going to be using all of these commands that
you see here, as we work in the 3D navigation.
| | 00:13 | Remember that Nuke's commands are all
context sensitive, so you have to have the
| | 00:18 | cursor in the 3D Viewer for these
commands to take affect. We'll close this.
| | 00:24 | To make it easier to see the 3D
navigation, I've made a little training aid.
| | 00:28 | So, let's load, from the 3D pop-
up, Geometry, the ReadGeo node.
| | 00:34 | This allows us to load in geometry from disk.
| | 00:37 | We'll go up to the file folder
and browse to the Nuke workshop, our
| | 00:44 | Lesson_06_Media and select the
cube_ball.obj file and open that.
| | 00:50 | So, we just read in a simple OBJ
file that we'll be able to see once we
| | 00:56 | switch to the 3D viewer.
| | 00:58 | Come up here, above the viewer, where
you see 2D, pop that up and select 3D.
| | 01:05 | The 3D viewer sort of starts with
the geometry right in our face.
| | 01:08 | So, to jump back, type F on keyboard,
that Fit button that we use so much.
| | 01:14 | Now we can orbit around the geometry,
by holding down the Alt+Right mouse
| | 01:19 | and then we can orbit, like that.
| | 01:22 | To zoom out, Alt+Middle mouse left and
right, and to pan, Alt+Left mouse and this
| | 01:32 | pans our camera around, or translates the camera.
| | 01:36 | This is, of course, very symmetrical
with Nuke's other interface controls
| | 01:40 | like down here in the node graph,
Alt+Left mouse pans, in the 3D viewer,
| | 01:45 | Alt+Left mouse pans,
| | 01:48 | in the node graph, Alt+Middle mouse zooms,
in the 3D viewer, Alt+Middle mouse zooms.
| | 01:55 | Also, by the way, you can zoom with a
thumb wheel, if your mouse has a thumb wheel.
| | 02:01 | The only obvious difference,
of course, is the Orbit command.,
| | 02:04 | Alt+Right mouse, Orbit, which, of
course, the node graph can't do.
| | 02:12 | Now those of you who are familiar
with other 3D applications, like Maya or
| | 02:16 | Lightwave, might be more comfortable
with different viewer navigation controls.
| | 02:21 | Nuke has you covered.
| | 02:23 | Open up the Preferences, go to the
Viewers button, down here, 3D control type.
| | 02:32 | The default, of course, is Nuke,
but you can select Maya, Houdini, or
| | 02:36 | Lightwave, and then your 3D animators will have
navigation controls that you're familiar with.
| | 02:41 | We'll close this.
| | 02:45 | Now if you accidentally click off
to the side, you'll deselect the geometry.
| | 02:48 | You can either click on the geometry
or click off to the side. Click on the
| | 02:52 | node to reselect it.
| | 02:53 | I don't know about you, but I
like to look at the wireframes.
| | 02:57 | Next, we'll take a look at the orthogonal views.
| | 03:00 | Let's increase the size of our viewer a
little bit and remember, Alt+Right mouse orbits.
| | 03:07 | So, let's orbit around the front
and maybe come down here a little bit.
| | 03:10 | So, we are almost looking
straight down the Z-axis, okay?
| | 03:14 | By the way, over here, in the left-hand
corner, you can see the orientation of the axis.
| | 03:20 | I'll orbit out a little bit.
You can see it move.
| | 03:23 | So, we are looking down the Z-axis.
| | 03:26 | Now from the keyboard, type Z, and this
is your front view. Ip here, you can see
| | 03:32 | it listed in the pop-ups and the
front view and there is your hot key.
| | 03:36 | So, we are looking straight down the Z-axis, okay?
| | 03:42 | To get back to a perspective view,
type V, as in Victor, on the keyboard.
| | 03:46 | Now, Alt+Right mouse, orbit around to
this side so we are looking straight down
| | 03:53 | the X-axis. We'll fine-tune that a little bit.
| | 03:57 | And now to see your orthogonal view,
type X on your keyboard, and this is the
| | 04:02 | right side orthogonal view ,and there is
your quick key, X. Type V on the keyboard
| | 04:09 | to go back to perspective.
| | 04:11 | Now let's orbit around the top.
Alt+Right mouse. Orbit around to the front,
| | 04:16 | where you are back in Z and then come up
overhead, like this. Maybe use the Alt+Left
| | 04:22 | mouse button to get centered.
| | 04:24 | And now we'll type C for the top view
and up here, you see the top view and you
| | 04:30 | can see the QuickKey.
| | 04:32 | Back to V, for the perspective view, and
Alt+Right mouse let's orbit back to a
| | 04:38 | reasonable perspective view.
| | 04:41 | Up to now, we switched between the 2D
and the 3D with this pop-up menu here.
| | 04:46 | Of course, we are not going to want
to do that in a real production job, okay?
| | 04:49 | What you are going to do is use the Tab key.
| | 04:54 | So, starting in the 3D view, if I
press the Tab key, I am now in the 2D view.
| | 04:59 | Press the Tab key, back to 3D.
| | 05:02 | So, toggling back-and-forth with the Tab
key is the way you are normally going to work.
| | 05:08 | In this movie, we saw how to switch
rapidly between the 2D and the 3D views.
| | 05:13 | We also saw how to navigate the viewer,
orbit, pan and zoom using the keyboard
| | 05:18 | shortcuts, as well as the orthogonal
views using the keyboard shortcuts Z, X
| | 05:24 | and C.
| | Collapse this transcript |
| Adding a 3D card| 00:01 | One of the key things we do in 3D
compositing is to add geometric primitives to
| | 00:05 | the shot, which we can then lay in
texture maps and render them and then add
| | 00:10 | that to the 2D stuff.
| | 00:12 | So, let's take a look at
adding 3D geometry in Nuke.
| | 00:16 | Of course, we'll come over to the 3D tab,
do the pop-up, come down to geometry,
| | 00:22 | and we'll start with the Card.
| | 00:24 | Click on Card and the Card
node jumps into the Node Graph.
| | 00:30 | Now the first thing I'd like to call
your attention to is the shape of the node.
| | 00:34 | For example, over here, I'm
going to add a Grade node.
| | 00:39 | Look at the Grade node. It's got square
edges and the Card has got rounded edges.
| | 00:45 | So, there is a design convention,
in Nuke, that all the 3D nodes have rounded
| | 00:50 | edges and all of the 2D nodes have square edges.
| | 00:53 | This will help you keep you keep
things organized in your flow graph.
| | 00:57 | We don't need this Grade node anymore.
| | 00:58 | I'm going to increase the size of the
Viewer a bit here, and then we'll switch
| | 01:06 | the viewer to 3D with the Tab key.
| | 01:09 | Type F on the keyboard to frame the
3D element in the Viewer, and now we can
| | 01:15 | Alt+Right mouse+Orbit.
| | 01:17 | There are three ways to
select a piece of geometry.
| | 01:21 | You can click on the geometry in the
Viewer and you get the green lines,
| | 01:25 | deselect by clicking off to the side,
or you can click on the node, click off
| | 01:31 | to the side to deselect, or you can come
up to the Property panel and click on that.
| | 01:35 | Okay, so three ways to select. All right.
| | 01:39 | So, we'll select the Card.
| | 01:42 | This section of the Property panel
pertains to the attributes of the geometry.
| | 01:46 | The section down here has to do with
transformations and you'll find this
| | 01:50 | section is consistent for
all 3D geometry elements.
| | 01:54 | Up here, has to do with display issues,
which we'll look at in just a minute.
| | 01:57 | But first, I wanted to
show you this orientation.
| | 02:00 | Now this feature is only used for the Card.
| | 02:03 | You'll notice the orientation says xy.
| | 02:07 | That means the Card will be
oriented along the X and the Y axes.
| | 02:12 | We can, for example, ask for a yz and
now it's along the Z axis and the Y axis.
| | 02:20 | If you needed to lay flat on the
ground, zx, so there is the X axis and the
| | 02:25 | Z axis and it lays flat on the ground.
| | 02:27 | So, that's the orientation.
| | 02:29 | We'll put it back to default.
| | 02:32 | Next is the rows and columns.
| | 02:34 | All of the geometries have the ability
for you to define the amount of precision,
| | 02:38 | or the resolution, how many
polygons define that geometry.
| | 02:43 | Obviously, the default is 8, but we can
say, for example, 20, Tab, 20, and now
| | 02:48 | the geometry has a lot more polygons in it.
| | 02:52 | This next section here has to do with
camera apertures and pan and tile shots,
| | 02:57 | so we're going to worry about that a lot later.
| | 03:00 | As we said earlier, this section
is the Transformations, which all
| | 03:03 | geometry shares in common.
| | 03:05 | This has to do with importing and
exporting channel files, which we'll talk
| | 03:08 | about later, and, of course, here is
your transform or gimbling order for your
| | 03:12 | transformations is right here.
| | 03:14 | And here is the translate, rotate, scale,
uniform scale, skew and pivot. Let's take a look.
| | 03:19 | We'll click on Z. I'm going to go
into the tens, the point ones, Alt+Middle
| | 03:24 | mouse+Drag and we can move
that guy in Z. And I'll undo that.
| | 03:30 | Rotate in Y, for example, and she
spins around the Y axis. I'll undo that.
| | 03:40 | We can also do a scale
in one or more dimensions.
| | 03:43 | We'll scale it in X, for example.
There you go. Undo that. And, of course, the
| | 03:49 | uniform scale will take the geometry
uniformly in all dimensions and make it
| | 03:55 | simply larger or smaller.
| | 03:58 | And, of course, skew and pivot.
| | 04:00 | The pivot is important because it obviously
is the source of rotation and scale operations.
| | 04:06 | So, let's take a minute to look at that.
| | 04:08 | The pivot point is represented by this
little spot right here, the Y and the X.
| | 04:13 | If I hold down Alt+Command - this is in
your keyboard shortcuts - Alt+Command,
| | 04:19 | I can move the pivot point away from the object.
| | 04:22 | So, the pivot point is now over here.
| | 04:26 | You can also, of course, type in
numbers here in the pivot parameters fields.
| | 04:31 | One advantage to having the pivot
point out here is I can show you the next
| | 04:35 | thing, which is the Rotation controls.
| | 04:38 | If you hold down the Command key,
these little rotation rings show up.
| | 04:44 | You can then use these to
rotate the object on the screen.
| | 04:47 | Of course, you can also type Rotate
values here in the parameters field,
| | 04:54 | but sometimes you want to onscreen
stuff so one more time, it's the Command key
| | 04:59 | that pops up the onscreen Rotate controls.
| | 05:02 | I'm going to reset all of the knobs
to default to show you the next thing,
| | 05:08 | which is texture mapping.
| | 05:11 | Let's go get Marcie from lesson one.
| | 05:13 | We will go to the Read node.
| | 05:17 | Go to the Workshops/Lesson_01_
Media and select Marcie, say Open.
| | 05:25 | You'll notice that the Card
has this input called img.
| | 05:29 | Well, that's for image, and Marcie is an image.
| | 05:32 | So, if we hook up that, voila!
| | 05:34 | One of the nice things about Nuke is
on these Input arrows, it will not allow
| | 05:40 | you to connect things that are not connectible.
| | 05:44 | So, if you ever try to get some, try to
hook two things together and they won't hook,
| | 05:47 | that's because you're not supposed to do that.
| | 05:50 | We now have a texture map
of Marcie in three space.
| | 05:53 | There is a lot we can do with that in
our compositing and we're going to be
| | 05:58 | taking to look at those
in another couple of lessons.
| | 06:02 | We don't need this Read node anymore,
| | 06:04 | so I'm going to close that Property panel to
show you the display options here, this pop-up.
| | 06:09 | The Display line means how it's
displayed when you're looking at it in 3D land.
| | 06:14 | Render means how it's
displayed when you do the 2D render.
| | 06:18 | So, we're in the 3D world,
so we'll Display pop-up list.
| | 06:22 | I could say, for example,
just show me the wireframe.
| | 06:28 | I could say show me just solid.
| | 06:30 | That's not very much fun, is it?
| | 06:33 | And of course, textured, which is
the default, or I could say show me
| | 06:38 | textured+lines of the
geometry, so I can see my polygons.
| | 06:42 | Well that's nice, or off.
| | 06:46 | If it's off, no matter how you
select it, it doesn't show up.
| | 06:52 | So, we'll put textured back on.
| | 06:55 | One important thing to remember about
the 3D geometry - it does not show up in
| | 07:00 | the Viewer if it's not
opened in the Properties Bin.
| | 07:04 | If you fold it up, it disappears.
| | 07:08 | If you delete the Property panel
out of the Property Bin, it disappears.
| | 07:13 | Double-click and it reappears.
| | 07:15 | So, remember, your geometry
disappears if it's not in the Property Bin.
| | 07:21 | In our next video, we'll look at Nuke's 3D Cube.
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| Adding a 3D cube| 00:00 | All right. Now let's take a look at some more
sophisticated 3D geometry, the Cube.
| | 00:07 | To add a cube, we go up to the 3D Tab,
down to the Geometry pop-up and click
| | 00:12 | on Cube and put the cursor in the Viewer, hit
the F key to kind of frame it in the Viewer.
| | 00:19 | I like to roll back a little
bit, Alt+Right Mouse+Orbit to admire.
| | 00:24 | I want to point out that nothing is
connected to the Viewer node. The reason is
| | 00:31 | that these are all 3D objects
and we are in the 3D Viewer.
| | 00:35 | This viewer is only for 2D stuff.
| | 00:38 | So, when you are in the 3D Viewer, all
your 3D elements will show up without
| | 00:43 | being connected to a Viewer.
| | 00:44 | Of course, once when you render them,
they will have to be connected to the
| | 00:47 | Viewer in order to see them in the 2D Viewer,
but we will see that later. Back to our cube.
| | 00:54 | Select the Cube.
| | 00:55 | You see how many polygons we have here.
| | 00:57 | Oh, we don't need the card anymore.
| | 00:59 | Let's close the Card Property
panel, clicking here, all right.
| | 01:04 | Just like the Card, the Cube has a
rows and columns setting, so we could set
| | 01:08 | this, for example, for 20, Tab, 20 and
increase the precision of our cube.
| | 01:14 | The cube brings something new to the
table, the ability to deform the cube right
| | 01:18 | here on screen, unlike the card.
| | 01:21 | See these little white control points here?
| | 01:24 | These are pull points that
you can use to deform the cube.
| | 01:28 | If you want to make a nice low squat
thing or something long and thin or any
| | 01:34 | other such shape that amuses you, you
can deform the cube right onscreen.
| | 01:39 | I am going to reset the cube back to
default and then we are going to connect to
| | 01:47 | the Image Input of the cube, lovely
Marcie. And Marcie is immediately texture
| | 01:52 | mapped on to the cube.
| | 01:54 | She, of course, is going to be a little
deformed, because this cube is an exact
| | 01:58 | square, and the Aspect Ratio of Marcie is 4x3.
| | 02:01 | Now let's take a look at the
transformation on the cube.
| | 02:04 | I am going to Orbit around for a nicer view.
| | 02:08 | Again, the translate, click just to the
right of the zero, Alt+Middle Mouse and
| | 02:13 | click and drag the virtual slider.
| | 02:16 | So, we can do a little
translation there. I will undo that.
| | 02:20 | Again, click on the Rotate Y, rotate
our cube, undo that and, of course, we can
| | 02:27 | scale in X and I will undo that,
and, of course, the uniform scale.
| | 02:34 | I'm going to undo that.
| | 02:38 | Now the pivot point is a very
important and interesting thing.
| | 02:41 | As you know, everything will be
scaled and rotated around the pivot point.
| | 02:46 | The default is that the pivot point is
at origin, the center of the geometry,
| | 02:50 | but we can take that pivot point -
| | 02:52 | You can see him right here,
| | 02:54 | there he is - and we can move that.
And this is in your keyboard shortcuts.
| | 03:00 | Alt+Command allows you to click and
drag the pivot point to move it out.
| | 03:05 | You, of course, can type in new pivot
point coordinates down here if you wish.
| | 03:09 | Just a reminder, the reason for
pulling it out was to show you this,
| | 03:13 | the onscreen rotate controls.
| | 03:16 | Hold down the Command key and these
little rings show up and now we can do
| | 03:22 | onscreen rotations of the geometry.
| | 03:24 | Okay? Of course, you can also
type them in, or animate them, or
| | 03:30 | procedurally animate them here,
| | 03:32 | but very often, you are going to want
to use this onscreen control gag, holding
| | 03:36 | down the Command key, very nice! Very nice!
| | 03:40 | Okay. I am going to hide my cube by
putting away its Property panel to show you
| | 03:46 | the cylinder.
| | Collapse this transcript |
| Adding a 3D cylinder| 00:00 | In this video, we will take a
look at the Nuke's 3D Cylinder.
| | 00:04 | Again, the 3D Tab > Geometry.
| | 00:09 | Let's get a Cylinder.
| | 00:12 | We will zoom out, take a look at
our cylinder here, very cylindrical.
| | 00:17 | You notice it has no top or bottom, yet.
| | 00:21 | Again, we have the same rows and
columns control here to increase or decrease
| | 00:25 | the precision, but we
have some new stuff, radius.
| | 00:28 | I wonder what that does? Oh, look at that.
| | 00:32 | Height, short, tall, u extent.
| | 00:37 | We are going to have to look at that
later after we have connected Marcie.
| | 00:42 | Before we do that, I want to
show you the Top and Bottom feature.
| | 00:45 | Notice these two toggles,
Close Top and Close Bottom.
| | 00:48 | If you click on the Close Top, it will
close the top, and, of course, close the
| | 00:54 | bottom. It depends on whether you
want your cylinders topless or not.
| | 01:00 | To look at this u extent thing,
we are going to need a picture.
| | 01:03 | We are going to need Marcie.
| | 01:04 | So, let's hook the image input to
Marcie and now we can orbit around and take a
| | 01:13 | look at Marcie as a cylindrical
texture map around our cylinder. Okay.
| | 01:17 | All right. The u extent, its default is 360.
| | 01:23 | That means to wrap the texture map, 360
degrees around a cylinder, but we can,
| | 01:29 | of course, change that and now the
texture map is only wrapped 166 degrees
| | 01:34 | around the cylinder, but we are seeing
these funny little streak edges here.
| | 01:40 | The reason is Nuke's behavior is that when
you get to the edge of an image, Nuke will
| | 01:45 | streak the pixels, so you can tell
that you have run out of picture.
| | 01:49 | Okay so, now we will look at that
transformations and again, these are the same
| | 01:55 | as before, so we can do our translate in
Z, our rotate in Y, our scale in X and,
| | 02:05 | of course, a uniform scale and we
can Reset all knobs to default. Okay.
| | 02:11 | Let's hide the Cylinder by closing
its Property panel to take a look at the
| | 02:14 | all important, Sphere.
| | Collapse this transcript |
| Adding a 3D sphere| 00:01 | In this video, we will take
a look at the Sphere node.
| | 00:04 | Again, the 3D Tab, the Geometry pop-up, click
on the Sphere and it adds a Sphere geometry.
| | 00:14 | Again, rows and columns to increase or
decrease the precision of the geometry.
| | 00:19 | The radius slider, guess what the does.
Now we have a u extent and a v extent.
| | 00:23 | I wonder what that does?
| | 00:26 | We will come back to that in a minute.
| | 00:30 | Now let's take a look at the top here.
| | 00:35 | The close top and close bottom, default is on.
| | 00:38 | If you turn those off, you get
a hold on top of your sphere.
| | 00:41 | I am not sure why you would want
that, but if you do, there it is.
| | 00:47 | Okay, let's add Marcie to our sphere and voila.
We have a spherical texture map of Marcie.
| | 00:53 | She is wrapped all the way around the
sphere, 360 degrees around the equator and
| | 00:59 | 180 degrees, from pole to pole.
| | 01:03 | That looks familiar.
| | 01:05 | Let's take the u extent down
from 360 to so. How about that?
| | 01:13 | Now let's take the v extent.
| | 01:17 | Okay, so we are still
getting our streaky edges thing.
| | 01:22 | Now there are many times, in fact,
probably most times, where you don't want
| | 01:27 | the streaky edge thing, you would like the
picture to stop right at the edge of the image.
| | 01:32 | Okay.
| | 01:34 | So, the way we cure Nuke from
streaking the edges of our pictures is we use
| | 01:38 | the BlackOutside node.
| | 01:40 | Okay, new node, over here on the
Transform Tab, come down to BlackOutside.
| | 01:48 | Now we are going to insert it
between Marcie and the sphere, like so, and
| | 01:54 | look what we got now.
| | 01:57 | Okay, Marcie has become trimmed at
her edges, but she is still spherically
| | 02:02 | projected and, of course, only around
the amount of the sphere as you define
| | 02:07 | with the u extent and the v extent.
I don't mean to deform Marcie. Sweet!
| | 02:15 | Now this raises the question about
premultiplied four channel images.
| | 02:20 | What happens if an image has an alpha
channel. How does Nuke behave? Okay.
| | 02:25 | Let's go and get a four channel image,
and the Read Node, to our Workshop/
| | 02:31 | Lesson_01/the jet fighter small.
| | 02:34 | We will open that and let's hook the
sphere directly to the jet fighter small
| | 02:44 | and look what happens.
| | 02:46 | Nuke obeys the Alpha Channel when you
apply it as a texture map on the geometry.
| | 02:52 | Same thing, of course, will
happen if you put it on the card.
| | 02:55 | So, I am going to clear the Property Bin,
wake up the Card and hook the Card to the jet.
| | 03:04 | Open it up in the Property
Bin and look what we have here.
| | 03:07 | Okay, so Nuke obeys the Alpha Channel
whenever you texture map it on your geometry.
| | 03:16 | In our next video, we are going to see
how to load arbitrary OBJ files, like
| | 03:20 | something that you might model in Maya
or 3D Studio Max, using the ReadGeo node.
| | Collapse this transcript |
| The ReadGeo and WriteGeo nodes| 00:01 | I have reset Nuke in order to show you how
to read and write OBJ files to and from disk.
| | 00:07 | Nuke can load huge OBJ files, million
polygon databases and still give you
| | 00:12 | reasonable screen response
time. Let's take a look.
| | 00:16 | We will go to the 3D Tab, the Geometry pop-
up and get the ReadGeo node, read geometry.
| | 00:24 | Come up to the File Browser, select
the Nuke Workshop and Lesson_06_Media and
| | 00:30 | let's load the head.obj file.
| | 00:32 | Open. Of course, we are still in the 2D
viewer and we are not going to see our
| | 00:37 | 3D until we get to the 3D viewer.
| | 00:39 | So, cursor in the Viewer, hit the Tab key
and to fit it into the Viewer, hit the F key.
| | 00:46 | Let's add a little more screen space for
our viewer, zoom out and here is our OBJ file.
| | 00:55 | To demonstrate how to write an OBJ
file out to disk, let's make an addition.
| | 01:00 | Let's go get a cube.
| | 01:02 | We will add a cube to our geometry and
let's say we will scale it in Y by .1.
| | 01:09 | We are going to add a platform. Okay.
| | 01:11 | We are going to make a pedestal for our guy.
| | 01:13 | Set the uniform scale to 2.
| | 01:16 | Okay, now if we select both nodes, they
both light up and now we can adjust the
| | 01:26 | pedestal to the base of the neck,
| | 01:28 | if we select the front view with the Z
key. We'll zoom in a little bit. Repo. Now we
| | 01:36 | can use the cube transformation to
reposition the pedestal where we want.
| | 01:41 | Bring it down and bring it back up
until it just touches and say okay
| | 01:46 | that's what we want.
| | 01:48 | To switch back to the Perspective view,
we'll press V on the keyboard and now we
| | 01:54 | have our man and our pedestal as two
pieces of geometry. This is important.
| | 01:59 | These are two separate pieces of geometry.
| | 02:01 | Of course, we can select them both at
the same time, but they are still separate.
| | 02:07 | Okay, the first thing we want to do
is to merge these together into one
| | 02:11 | single piece of geometry.
| | 02:12 | So, with both nodes deselected, come
up to the 3D Tab, to the Modify pop-up
| | 02:19 | and select MergeGeo.
| | 02:21 | This node is used to merge any
number of geometries together into a
| | 02:25 | single logical entity.
| | 02:26 | We will hook the number one over here
and then a new arrow pops up with a two.
| | 02:30 | We will hook that over here, and a new
arrow pops up with the three and we could
| | 02:36 | keep doing this all day along.
| | 02:37 | So, as many different geometries
are now merged together into one.
| | 02:41 | If I select the MergeGeo node,
the entire thing is lit up.
| | 02:46 | Now we are going to write the geometry to disk.
| | 02:48 | With the MergeGeo node selected, up
to the 3D Tab, Geometry > WriteGeo.
| | 02:56 | Again, the File Browser pop-up.
| | 02:59 | We will browse to the Nuke Workshop?
Lesson_06_Media and let's write this
| | 03:05 | out as WriteGeo.obj. Okay, click Open.
| | 03:12 | Now this is just like a Render node.
| | 03:14 | All we have done is give it the path
name and the file name we want rendered,
| | 03:18 | but it hasn't rendered it yet.
| | 03:20 | To actually write the geometry to disk,
we have to click on the Execute button.
| | 03:25 | If we had animated geometry, we might
want to render out frames 1 through 100
| | 03:30 | and we could do that by including
the Pound sign in the name, so it would write out
| | 03:34 | numbered OBJ files, just like writing
out numbered TIFF files or whatever.
| | 03:39 | However, in this case, we have one
single piece of geometry to write out,
| | 03:43 | so the frames to execute
are just one. Click OK.
| | 03:48 | It has now written WriteGeo.obj to the disk.
| | 03:52 | I am going to clear the Property Bin
so that all of this stuff is gone away.
| | 03:57 | Now let's open up 3D Tab > Geometry >
our ReadGeo node and let's go get our new geometry.
| | 04:05 | Again, the File Browser, go to
the Workshop/Lesson_06_Media.
| | 04:13 | There is our WriteGeo.obj file.
| | 04:15 | We will open that and there it is.
| | 04:20 | Now the important thing here is this
is now one single geometry element.
| | 04:25 | It is no longer two pieces, okay?
| | 04:27 | The WriteGeo node rendered
out to disk the merged geometry.
| | 04:33 | In this movie, we saw how to add
geometric primitives to our 3D compositing and
| | 04:39 | also how to adjust the sizes and the
shapes and very importantly, we got a look
| | 04:44 | at the ReadGeo nodes for reading in OBJ
files and the WriteGeo node for writing
| | 04:49 | them back out to disk.
| | Collapse this transcript |
| Adding a 3D camera| 00:01 | In our last movie, we saw how to add
geometric primitives to our composites.
| | 00:05 | In this movie, we're going to see how to
mix the 3D elements and our 2D elements.
| | 00:10 | To do that, we're going to need to add
cameras, but before we add a camera, we
| | 00:14 | are going to need to target to shoot.
| | 00:15 | So, to help speed things along,
I've prepared a little Nuke script.
| | 00:20 | If you would open up your Script
browser and go to the NUKE_WORKSHOP/
| | 00:25 | Lesson_06_Media and load geometry.nuke.
| | 00:30 | This contains some simple geometry
that we can use for our camera exercises.
| | 00:35 | Let's pull down on the viewer to give
ourself a little more viewer space,
| | 00:39 | double-click on the MergeGeo node to
put it up here in the Property panel and
| | 00:44 | let's switch the viewer from 2D to 3D -
of course, you can use the Tab key, if
| | 00:47 | you want to be fancy.
| | 00:48 | Now we are looking at our geometry.
Type F on the keyboard to frame.
| | 00:55 | This tells Nuke to kind of frame the
entire scene within the viewer, so you can
| | 00:59 | kind of see where you are.
| | 01:01 | We can now orbit around with Alt+Right
Mouse and take a look at what we got.
| | 01:07 | Okay. To add a camera, we simply come up
here to the 3D tab, click on the pop-up
| | 01:14 | and come down to Camera and we
just added a camera to the scene.
| | 01:18 | Notice it's not connected and it's a
round shape. It has - it's not square.
| | 01:22 | Remember, the 2D stuff is
square. The 3D stuff is round.
| | 01:27 | Our camera, of course, has
appeared at origin at 000.
| | 01:30 | So, it's actually buried inside the cube.
| | 01:33 | We could switch to the top view, with C
on the keyboard, make sure the Camera is
| | 01:38 | selected, come to origin and click on
the axis of the camera and pull it back.
| | 01:44 | We can now switch to perspective by
typing V on the keyboard, pull out, grab the
| | 01:53 | camera and pull it back this way.
| | 01:55 | You'll notice that the camera has
these little cardinal arrows, one in Y, one
| | 01:59 | in X and one in Z. So, if you grab
those guys, it'll only move an object in
| | 02:05 | that one direction only.
| | 02:08 | So, we want to pull the Camera back.
We could go back to our top view, zoom out
| | 02:14 | a little bit, pull the Camera back and
line it up on the z-axis like this and
| | 02:18 | nice and wide, so it's framing our cube.
| | 02:23 | Switch back to the Perspective view.
Orbit around, see what we got, okay,
| | 02:28 | that's looking good.
| | 02:30 | The cube is in the camera's field of view
lines, both from the side and from the top.
| | 02:35 | All right.
| | 02:37 | Now what we want to do is
look through the camera lens.
| | 02:40 | And the way we do that is, up here at
this pop-up, every camera and light that
| | 02:46 | you add will be added to this list.
| | 02:49 | So, in a real shot, you
might have several of these.
| | 02:51 | So, we'll just select Camera1 and then
click on this button right here, which
| | 02:56 | locks the viewer to the camera.
| | 02:58 | You can now zoom out or in, and you
can Alt+Left mouse pan, but you cannot
| | 03:04 | Alt+Right mouse orbit.
| | 03:06 | This is because we are
looking through the camera lens.
| | 03:11 | Now we want to compose the
shot by moving the camera around.
| | 03:15 | The first thing we'll do is raise
the camera in Y. So, come over to the
| | 03:19 | Camera Property panel, click right
there next to the one, Alt+middle mouse
| | 03:24 | virtual slighter now, click and drag
until the camera is a little bit above
| | 03:30 | the cube, all right?
| | 03:32 | Now to tilt the nose down, come over
to the rotate in X. Alt+middle mouse
| | 03:37 | click and drag to point the
nose of the camera down.
| | 03:41 | Okay. So, let's unlock the Camera view,
switch back to the Default view, click in the
| | 03:50 | viewer and hit the F key ,and zoom out
and now we can orbit around and see where
| | 03:55 | our camera is now, okay.
| | 03:59 | Now that we've built a nice 3D
camera, in our next video, we'll see how
| | 04:03 | to animate it.
| | Collapse this transcript |
| Animating a camera move| 00:00 | All right. Next, let's keyframe a camera move.
| | 00:04 | We'll switch to the top view, with the
letter C, make sure our playhead is on
| | 00:10 | frame 1, so we're now looking
down on the world with our top view.
| | 00:18 | Keyframe is set for 1. Go to the
Translate parameters and set a keyframe.
| | 00:25 | Also, go to rotate Y, select just rotate
Y and Set a key for just rotate y. That's
| | 00:32 | the only one we'll be using
in the rotation. All right.
| | 00:37 | Now we can move our camera over here.
Scooch the camera over, way off to the
| | 00:42 | side, hold down the Command key, so
you'll get your onscreen rotation rings,
| | 00:47 | click and rotate the camera around to
put the cube back into the field of view.
| | 00:54 | Then jump to the end of the clip,
click and drag the camera over to this
| | 01:00 | side, hold down the Command key again,
rotate the camera back around so it
| | 01:07 | sees the cube again.
| | 01:10 | Now we have a keyframe
animation that plays like this.
| | 01:19 | Now to see it from the world view,
come up here to the pop-up and select the
| | 01:23 | default and then press V on the
keyboard to get back to your perspective view,
| | 01:30 | and now we can orbit around
and watch our camera move. Good!
| | 01:40 | Stop that.
| | 01:42 | Now we would like to view the
scene through our camera lens again.
| | 01:45 | So, we'll come up to our pop-up list,
select the Camera1 and select Camera Lock.
| | 01:52 | Now we can play the clip, and we're seeing the
scene through the camera lens. We can stop this.
| | 02:01 | Scrub through it.
| | 02:05 | You'll notice this outline here is the
aperture of the camera, this white line.
| | 02:10 | If you press F on the keyboard, it will
pull out and fill the frame with the geometry.
| | 02:17 | This allows you to find things. If you
type H, it pushes the aperture right up to
| | 02:21 | the edge of your viewer.
| | 02:22 | So, if you want to be in tight, push H.
Most often, you'll probably want the F view.
| | 02:28 | This way, you can see where
you are in the 3D world better.
| | 02:33 | Now that we have a nice 3D scene,
in order to render it out to 2D, we are going
| | 02:37 | to have to look at the
ScanlineRender node in our next video.
| | Collapse this transcript |
| The Scanline Render node| 00:00 | So, we've got a camera move on our 3D geometry.
| | 00:03 | The next step is to render this,
| | 00:06 | so we can see it in the 2D world.
| | 00:08 | To do that, we need the ScanlineRender node.
| | 00:12 | Select the MergeGeo node, up to our
3D tab, and select ScanlineRender.
| | 00:20 | Notice this node has three inputs and
that the ScanlineRender, first of all, is
| | 00:25 | square, so it must be a 2D thing.
| | 00:27 | The input is OBJ scene and that
means your geometry or a Scene node.
| | 00:33 | We'll learn about Scene nodes later,
and this is the camera input and this is a
| | 00:38 | background input, optional, optional.
| | 00:41 | So, we'll bring this over and hook up
our camera. Then we'll hook the viewer up
| | 00:46 | to the Scanline Render node.
| | 00:48 | Now this is your minimum
configuration for rendering 3D into the 2D world.
| | 00:55 | We can certainly get more elaborate
than this, but this is your basic minimum,
| | 00:59 | some geometry hook to the
ScanlineRender node and then a camera hooked to the
| | 01:04 | ScanlineRender node.
And that makes perfect sense.
| | 01:08 | You cannot know what to render of
the geometry unless you have a camera.
| | 01:14 | We can now look at this scene in 2D.
| | 01:16 | We'll come up to our pop-
up and select 2D, and voila!
| | 01:22 | In fact, we'll use the Tab key now.
| | 01:25 | So, we can now toggle between 2D and 3D
instantly, and you will see the exact same scene.
| | 01:31 | I am going to jump back to
Frame1 and render my 2D scene.
| | 01:38 | Now this is a full tilt - restart.
| | 01:41 | This is a full tilt boogie render with
anti-aliasing and texture mapping and
| | 01:45 | lighting and so on and so forth.
| | 01:46 | We haven't put those in yet, but this
is a for real 3D render, whereas when we
| | 01:53 | stop this and go back to 3D, what we're
looking at here is the geometry engines.
| | 02:00 | However, they line up exactly the same, okay?
| | 02:03 | There is our 2D, 3D, 2D, 3D. We'll stop that.
| | 02:13 | Now I showed you this BG
input to the ScanlineRender.
| | 02:18 | What that's for is to connect a
background image that will be behind all the
| | 02:23 | geometry and it'll be locked to the
camera lens, no matter how the camera moves.
| | 02:28 | Let's take a look at that.
| | 02:30 | We'll come out to our Read Node,
go to the WORKSHOP, go to Lesson_03,
| | 02:37 | Lesson_03_Media, and select clouds_A.
| | 02:41 | We'll open that, move it over here.
| | 02:44 | Now you don't see this background,
unless you are in the 2D view.
| | 02:48 | So, cursor in the viewer. Hit the Tab key.
| | 02:52 | Hook the BG input to the cloud's plate and now
the geometry is rendered over the live-action.
| | 03:00 | We can now render that. This is the
setup you are using when you've got a
| | 03:08 | live-action plate and some 3D camera match move.
| | 03:12 | So, you're going to have an animated
3D camera with some 3D geometry and a
| | 03:18 | live-action background plate, and
this is the setup for that.
| | 03:21 | Okay? We will stop that.
| | 03:25 | One other very important point about
hooking an image up to this BG input of the
| | 03:30 | ScanlineRender node, no matter what
your projects settings are, this image will
| | 03:36 | override them and give it its own
resolution. clouds_A is a one K_Super_35
| | 03:42 | image, but our Projects Settings are PC_Video.
| | 03:48 | If we go to Projects Settings, we can
change the Project Settings, of course, to
| | 03:53 | let's say HD, and now the 2D scene
is HD and, Tab key, the 3D scene is HD.
| | 03:59 | There is our HD aperture.
| | 04:01 | But again, if I connect any image to
that ScanlineRender node, it overrides
| | 04:08 | the Project Settings.
| | 04:10 | You must be sure to remember this, because
this could really bite you in the future.
| | 04:14 | In the next video, we'll see how
to line up the 3D geometry with the
| | 04:18 | background plate.
| | Collapse this transcript |
| Viewing geometry over the background| 00:00 | When you get camera data from the
match move department, you're going to have
| | 00:04 | a moving 3D camera and you're going to have
to line up geometry on to the live-action plate.
| | 00:10 | To do that, you need to take the Viewer,
in Nuke, and show the 3D wire frame over
| | 00:16 | the live-action background.
| | 00:18 | So, let's take a look at how that's done.
| | 00:20 | Let's go get an image.
| | 00:21 | We'll go to Read node/our Nuke
workshop/Lesson_06_media and bring in
| | 00:30 | the cube_shot, okay?
| | 00:34 | Hook that up to our Viewer,
a little more screen space for the Viewer.
| | 00:42 | So, this image represents a live-action
plate that we're going to try to line up
| | 00:47 | our 3D geometry to, okay?
| | 00:50 | So, to do that, we're going
to need a cube and the camera.
| | 00:55 | So, we'll go to our 3D tab, the
Geometry and add a Cube and 3D > add a Camera.
| | 01:07 | Switch the Viewer over to 3D.
Click in the Viewer, type the F key, pull out,
| | 01:14 | orbit around and, of course, our
camera's hidden inside the cube again.
| | 01:19 | Select the camera, pull the
camera out of the Cube, orbit around.
| | 01:26 | Now what we want to do is ballpark
the Camera, get it to roughly match
| | 01:31 | where we saw it in the live-action.
| | 01:34 | Remember, in our 2D view, the Camera
is obviously back away, towards the left,
| | 01:40 | and a little bit above.
| | 01:41 | So, we're going to kind of roughly
match that on the 3D side, back to 3D.
| | 01:47 | So, we'll select our Camera, pull it
back, move it over and raise it up.
| | 01:59 | Then we'll switch the view to
look through the camera lens.
| | 02:02 | So, I'll go to the Camera pop-up.
Select the Camera. Click on the Camera view.
| | 02:05 | Hit F. Our Cube is a little bit out of
frame, so let's zoom out. There it is.
| | 02:12 | Okay. Now we're going to move the camera to
get the Cube into frame. So, we can rotate
| | 02:17 | the Camera in Y, Alt+middle mouse,
click and drag. Notice the Camera down with
| | 02:23 | the rotate X+Alt+middle mouse, click
and drag. Our Camera needs to come back so
| | 02:29 | let's go to translate Z and
raise translate Z. All right.
| | 02:32 | Now we can rotate our camera back again
and rotate our camera down again. Okay.
| | 02:40 | Now we can zoom in a little bit.
| | 02:44 | We'll select the Camera and the Cube.
| | 02:46 | The camera apparently needs to come up a
little bit, so let's raise the camera in
| | 02:50 | Y a little bit more, and then adjust the
rotate x value to get it back into frame, okay.
| | 02:58 | So, our 3D cube now is approximately in
the same position as the live-action Cube.
| | 03:04 | What we want to do is see the
wireframe of the Cube superimposed over the
| | 03:10 | live-action, and then we're
going lock them in together.
| | 03:14 | To do that, we're going to
add a ScanlineRender node.
| | 03:18 | We'll select the Cube, come up to the
3D tab, add a ScanlineRender node, hook
| | 03:24 | our Camera up to it and then hook
the Viewer to the ScanlineRender node.
| | 03:32 | So, our Viewer node now has the live
-action plate in one input and the
| | 03:37 | ScanlineRender in another input.
| | 03:40 | We can see them
superimposed in either 2D or 3D.
| | 03:44 | Let's start with 2D.
| | 03:47 | Turn off the Camera view
lock. Switch to the 2D view.
| | 03:54 | To see the 3D superimposed, we're
going to use the Viewer white controls.
| | 03:58 | Select the over operation. On the left
side, we want the ScanlineRender and on
| | 04:05 | the right side, we want the Read node.
| | 04:08 | Move the onscreen white tool off to
the left so you see the whole picture.
| | 04:12 | Now you can see the wireframe of our 3D
cube superimposed over the live-action plate.
| | 04:18 | What we have to do now is shift the
camera around to where we've lined up the
| | 04:23 | 3D Geometry with the live-action.
| | 04:26 | To do that, we'll double-click on the
camera and we'll start moving our Camera
| | 04:32 | around. Let's see. I'm going to move the
Camera out a little bit and then we'll
| | 04:40 | move the Camera up to the left a little bit.
| | 04:46 | There. I'm going to set this
to 1.1, set that to 4.2, okay.
| | 04:56 | Now we're going to rotate the camera's
point of view. Rotate it around Y, okay,
| | 05:02 | there, and then rotate it in the X, there.
| | 05:07 | We've now lined up the 3D
Geometry with the live-action plate,
| | 05:11 | by shifting the Camera position until
everything lined up. Of course, the match
| | 05:16 | move department is going to give you
Camera information and Geometry data and
| | 05:21 | everything will line up perfectly - wink, wink.
| | 05:25 | We can also look at the line up in the 3D side,
so we'll switch the Viewer from 2D to 3D.
| | 05:31 | We're going to set the Cube display to
be wireframe and now we have a wireframe
| | 05:40 | cube over our live-action plate.
| | 05:44 | Now we confirm that the 3D geometry
is lined up with the live-action plate.
| | 05:49 | Keep in mind that our Camera, we're
looking through our Camera, and the
| | 05:52 | Camera view is locked. Okay.
| | 05:54 | Otherwise, they don't line up.
| | 05:55 | I'm going to double-click on the
Camera node to put it at the top of the
| | 06:00 | Property bin, just to show you.
| | 06:02 | If I adjust the Camera a little bit, the
Geometry goes off position, or adjust the
| | 06:08 | Camera rotation this
way, and I can put it back.
| | 06:12 | So, you can view it in 3D or 2D.
The key is you've got two connections to the
| | 06:18 | viewer: One is the ScanlineRender, the
other is the live-action plate and you
| | 06:24 | use the Viewer's split comparison
tool to composite one over the other.
| | 06:32 | In this movie, we saw how to add Cameras
and animate them, as well as how to look
| | 06:37 | through the camera lens, so we know
exactly what the 3D camera is seeing.
| | 06:41 | We saw how to add the ScanlineRender
node, which is required to create the 2D
| | 06:46 | render, which we can then view in the
2D world, and we also saw the proper
| | 06:52 | Viewer setup to see the 3D
Wireframe over a live-action background.
| | Collapse this transcript |
| The Scene node| 00:01 | So far, we've seen the simplest
possible case in Nuke, where we had one piece of
| | 00:05 | Geometry and one Camera and we put that
into the ScanlineRender node to allow us
| | 00:10 | to mix our 3D with our 2D.
| | 00:13 | Of course, in the real world, you're
going to have much more complex scenes.
| | 00:16 | So, when you have more elements, you
need to add the Scene node in order to
| | 00:21 | group the elements together into a
single logical entity. Let's take a look.
| | 00:27 | Let's go to our Nuke Scripts/Nuke
Workshop/Lesson_06_Media and select
| | 00:34 | the Scene node script.
| | 00:36 | We'll open up. Okay I want to move this
up here, open up the Viewer a little bit.
| | 00:45 | Let's switch the Viewer to 3D.
Click in the Viewer, type the F key, Alt+right
| | 00:52 | mouse orbit and let's zoom out, okay.
| | 00:58 | You'll recall that if you double-click
on the Geometry, it appears in the Viewer
| | 01:03 | as long as it's open here in the
Property panel. Okay, so we'll put those back
| | 01:09 | and same thing with the Camera.
Double-click on the Camera, the Camera has appeared
| | 01:14 | and now we have all the
elements in our 3D scene.
| | 01:17 | Now let's add a Scene node and watch
what happens. Let's click in the Node
| | 01:21 | Graph to deselect everything. Come up to the 3D
tab and select the Scene node. We'll put it down here.
| | 01:29 | We'll zoom in to take a look at the connections.
| | 01:33 | This first input, 1, you can just reach
up and attach to any piece of Geometry
| | 01:37 | and a new input is added.
| | 01:39 | 2, attach that to something
else and a new input is added.
| | 01:43 | 3, attach that to something else
and you just keep doing that all day,
| | 01:48 | connecting as many elements
as you want to the Scene node.
| | 01:52 | The Camera, however, is smart and knows
that he connects to the Scene node directly.
| | 01:57 | Now zoom out a little bit and now if I
clear the Property bin, double-click on
| | 02:04 | the Scene node, everything in the Scene
appears. The Geometry, the Camera and if
| | 02:09 | we had any lights, which we will be
looking at next, they would be here too.
| | 02:14 | We can fold up the Scene node
and the entire Scene disappears.
| | 02:19 | To the Scene node now is what we hook
the ScanlineRender node, so we will come
| | 02:23 | up to the 3D tab, select
ScanlineRender and it'll hook up to the Scene node.
| | 02:29 | Remember, last time we hooked up the Geometry.
| | 02:32 | Well, this OBJSCN, that means you can
hook up objects or Scene nodes directly to
| | 02:38 | the ScanlineRender here and, of course,
these are Camera input. So, we'll move
| | 02:43 | that down here and hook that up to the
Camera and then, of course, the Viewer
| | 02:48 | hooks directly up to the ScanlineRender node.
| | 02:51 | Remember, it's the ScanlineRender node
that converts the 3D to 2D so we can use
| | 02:56 | it in our compositing.
| | 02:58 | So, once again, we can
select our Camera > Camera1.
| | 03:01 | Lock the Viewer to the camera.
| | 03:03 | I'm going to zoom out a little bit and
now we can toggle between the 2D and
| | 03:09 | 3D and we're going to get exactly the
same view, of course, in the real world
| | 03:14 | you're going to use Tab key.
| | 03:17 | Now let's take a look at
adding lights to a 3D scene.
| | Collapse this transcript |
| Adding lights to a scene| 00:00 | So, first, let's reset Nuke
and then go get another script.
| | 00:04 | We'll open up the script browser, go to
the NUKE WORKSHOP/Lesson_06_Media and
| | 00:11 | select the lights script.
| | 00:13 | Say Open, a little more room for our
Viewer, and switch the Viewer to 3D.
| | 00:20 | Click in the Viewer, type F on the
keyboard, Alt+Middle-Mouse, drag to zoom back
| | 00:26 | and then Alt+Right Mouse to orbit around.
| | 00:30 | So, what we have here is a set of
geometry and a camera that looks straight down
| | 00:34 | on it, and we'll use this to
see our different light setups.
| | 00:37 | So, let's add a light to the scene by
going up to the 3D tab, come down to
| | 00:42 | Lights, and this pop-up shows you
all the different types of light.
| | 00:45 | Now, the Point, Direct and Spot,
these are older lights that are now
| | 00:49 | incorporated into the single Light node.
| | 00:52 | They're maintained here
for downward compatibility.
| | 00:55 | So, all we need is the Light node
and, of course, we'll look at the
| | 00:58 | Environment light later.
| | 01:00 | So, select the Light node.
| | 01:01 | We get down here and hook
it up to the Scene node.
| | 01:07 | Over here in the Light Transformation
panel, let's set the light position for 5
| | 01:12 | in x, 4 in y and 4 in z and we'll switch
to the top view with the letter C.
| | 01:20 | Zoom out a little bit and as you see, that
put the light above this corner here.
| | 01:25 | Switch back to the Perspective view
with V and we can orbit around and see where
| | 01:30 | the light is in our scene.
| | 01:34 | The first two adjustments for the
light are the Intensity and the Color.
| | 01:38 | Intensity, of course, makes the light
brighter, and the Color, of course, allows
| | 01:42 | you to assign a color to it.
| | 01:44 | You can open up the color selector and
start dialing in any RGB values you like,
| | 01:51 | or select it from over here, adjust the
Saturation, whatever you like and now we
| | 01:57 | have a colored light, more intensity.
| | 02:01 | Now let's switch to the 2D view.
| | 02:03 | Come up here to 3D and select 2D.
| | 02:05 | Of course, if you want to be
quick, you'll use the Tab key.
| | 02:10 | From the 2D view, we can
better see the falloff types.
| | 02:13 | You have several choices
for the type of falloff.
| | 02:16 | The default, of course, is no falloff at all.
| | 02:18 | The next is a linear fall off, where
the brightness of the lights falls of
| | 02:23 | linearly, based on the distance from the light.
| | 02:25 | I'm going to crank up the intensity a
bit to show you the other ones. Quadratic
| | 02:33 | and Cubic are exponential-type falloffs.
| | 02:36 | So, we'll set the falloff back to No
falloff and drop the intensity down to 7.2.
| | 02:44 | Of course, the light has the usual
transformations, but they're really quite
| | 02:48 | meaningless. Rotating and scaling the
light doesn't change anything at all.
| | 02:52 | The only thing it does -
we'll switch back to 3D.
| | 02:57 | The scale factor simply increases the
scale of the size of the icon, but it has
| | 03:01 | no effect on the light itself.
| | 03:04 | Let's take a look at the next light
type, the directional light, or other
| | 03:09 | systems might call this parallel light.
| | 03:11 | The idea is it replicates light from
infinity, like the sun, so the light rays
| | 03:16 | are parallel and they have no falloff.
Notice that the falloff has been ghosted out.
| | 03:21 | The only thing that
directional light has is a direction.
| | 03:26 | Selecting the Light node, hold down
the Command key to get the onscreen
| | 03:31 | rotate controls and you can then now start
controlling the direction that the light comes from.
| | 03:37 | Okay, we can zoom in a little bit.
| | 03:43 | As with any directional light,
its location in the scene is
| | 03:45 | completely irrelevant.
| | 03:47 | It is only the direction that it points
from that has any effect on the lighting.
| | 03:54 | The next light type is the spot light.
| | 03:56 | Come here and select the spot light.
| | 03:59 | Again, the spot light also has
rotational controls, so we can adjust the
| | 04:05 | orientation of the spot light and, of
course, its position does affect the
| | 04:09 | results of the light.
| | 04:10 | Of course, you can also
change its intensity and its color.
| | 04:19 | But the one new feature of the spot
light is you can actually lock the Camera
| | 04:23 | view to the spot light.
| | 04:25 | So, we can come up to the list here and
the Light1 has been added to the list,
| | 04:29 | so we can select Light1 and then we
can lock the camera to it and now we are
| | 04:33 | looking at the world through the spot light.
| | 04:36 | So, if we are to change the spot
light's rotation, for example, then the spot
| | 04:45 | light's look point changes with it.
| | 04:49 | Now let's switch to the 2D view, so
we can take a look at some of the other
| | 04:53 | features of the spot light.
| | 04:54 | Of course, one of the first adjustments
is the cone angle and, of course, we can
| | 04:59 | make that smaller and larger.
| | 05:00 | But we can also change the cone penumbra
angle and this makes it larger and softer.
| | 05:06 | So, this is the outer edge.
| | 05:09 | We also have the cone falloff,
which allows you to adjust the rate of
| | 05:13 | falloff and we also have falloff types, just
like we did before, so we can set up for linear.
| | 05:19 | We might need a little more intensity.
| | 05:25 | We're now losing intensity with
distance from the light source.
| | 05:29 | So, we could also select Quadratic and
Cubic for those exponential falloffs.
| | 05:35 | Very often though, no falloff
will be the setting you'll use.
| | 05:39 | We'll set intensity back to 10.
| | 05:41 | Of course, you can have as many
lights as you want in a scene.
| | 05:45 | Put the cursor down in the Node Graph
and deselect Light1, come up to the 3D
| | 05:51 | tab, come down to the lights and
we'll add a second light to the scene.
| | 05:55 | Bring it in here, hook it up to the
Scene node, switch to the 3D view and
| | 06:02 | there's our new light source.
| | 06:04 | We'll have to take the Viewer
off of camera lock on Light1.
| | 06:07 | So, turn off the camera
lock and set for default.
| | 06:11 | Click in the Viewer.
| | 06:12 | Hit the F key. Again, Alt+
Middle-Mouse to zoom back.
| | 06:18 | Select Light2 and we can drag up on its y axis.
| | 06:23 | And that way, we get a change only in
the y value, so we'll raise it up here,
| | 06:28 | zoom out, take a look.
| | 06:33 | Okay now, we can adjust the intensity
of this new light and it'll be added
| | 06:38 | to the original light.
| | 06:40 | We can look at it in the 2D view
and see the effect of the added light.
| | 06:45 | I can drop the intensity down or adjust
it up, give it a color, whatever you want.
| | 06:52 | So, you can add as many lights as you
want and you just have to hook them up to
| | 06:56 | the Scene node for them to
be included in the render.
| | Collapse this transcript |
| Adding multiple cameras| 00:01 | Now let's take a look at
adding multiple cameras.
| | 00:04 | We'll open up the script browser.
| | 00:08 | Go to the NUKE Workshop/
Lesson_06_Media and load cameras.
| | 00:14 | We'll scooch this up a bit, increase the size
of the Viewer and switch the Viewer to
| | 00:20 | 3D, cursor in the Viewer, click in the
Viewer, F on the keyboard, and now we can
| | 00:26 | Alt+Right Mouse, orbit around to see the scene.
| | 00:29 | We're going to look at adding
multiple cameras to our 3D scene.
| | 00:34 | A very important tip in your workflow is
to always give your cameras good, clear
| | 00:40 | descriptive names, very important work habit.
| | 00:42 | So, we'll start by selecting Camera1.
We'll come up here, click on the name and type
| | 00:50 | HiCam, because this is the camera
that's up high, looking down on the scene.
| | 00:55 | Now we'll add a second camera to our scene.
| | 00:58 | Click in the Node Graph to deselect the HiCam.
| | 01:00 | Come up to the 3D tab and select another camera.
| | 01:06 | Bring it down here, and hook it up to
the Scene node and the first thing we'll
| | 01:11 | do is we're going to rename this LoCam,
because it's going to be the low camera.
| | 01:18 | Cursor in the Viewer, switch to the side
view with the X key, get your cursor on
| | 01:24 | the z-axis and pull it straight out in z.
We like to have it around seven in z,
| | 01:34 | so we can actually go up to the
Parameters and adjust translate z to 7. There.
| | 01:42 | Now, the green lines, of course, here
are the cone of view of the camera and our
| | 01:47 | geometry is not really in the cone of
view, so we want to rotate the camera.
| | 01:51 | We could use the onscreen controls, of course,
| | 01:55 | or, go to the Property panel and
adjust the Transformation parameters.
| | 02:00 | Click to the left of the 0 in rotate X,
hold down the Alt key and drag left and
| | 02:06 | right to adjust the camera's angle.
| | 02:08 | We'll say there. That looks nice.
| | 02:13 | Now let's go back to the default
view, up to default, zoom out, ah!
| | 02:21 | The Viewer is currently in side view,
so we're going to have to reset that to
| | 02:25 | Perspective, with the letter V on the
keyboard, and now we can see our new camera
| | 02:30 | and its new name, LoCam. All right.
| | 02:33 | So, let's deselect in the Node Graph,
so nobody is lid up. Go up to 3D tab,
| | 02:39 | Let's add a third camera.
| | 02:43 | Move it down here, hook it up to the
Scene node and let's rename this one, SideCam.
| | 02:52 | Cursor in the Viewer and switch to
the top view with the C key and we're
| | 02:57 | going to drag it to the right by
pulling on its x-axis, so click on the x-axis
| | 03:03 | and pull this guy over here.
| | 03:07 | Then we can turn it around with an onscreen
Command key, click and drag on the rotate ring.
| | 03:13 | All right.
| | 03:14 | Now with this camera, let's take a look
at adjusting it by looking through the
| | 03:18 | camera lens while we adjust its parameters.
| | 03:21 | So, up in our pop-up list, we'll
select the SideCam, lock the view and select
| | 03:27 | Perspective with a V. So, now
we're looking through the camera.
| | 03:33 | This, of course, is the camera
aperture for the side camera.
| | 03:37 | We also see a bunch of other lines, which are
the cones of view from the other two cameras.
| | 03:41 | It's kind of cluttering up our screen,
so let's turn those off temporarily.
| | 03:46 | We'll come down to display.
| | 03:48 | I'm at the LoCam display.
Set it from wireframe to off.
| | 03:53 | Then we'll go to HiCam,
display > wireframe to off.
| | 03:58 | There, much cleaner.
| | 04:00 | Now we'll adjust the camera to the
scene while looking through the camera and
| | 04:04 | adjusting its parameters
in the Transformation panel.
| | 04:07 | We'll start by raising the camera
up, click to the right of the 0,
| | 04:13 | Alt+Click and drag to raise the camera up.
| | 04:17 | Then we'll come down to the rotate X,
click to the left of the 0, Alt+drag down
| | 04:23 | to repp the camera's nose.
| | 04:26 | Then click over on the y parameter, Alt and
drag to center the geometry, left and right.
| | 04:34 | To take a look at the zoom of the lens,
let's switch back to our default view.
| | 04:37 | So, we'll turn off the camera lock,
switch the view to default, click in the
| | 04:43 | Viewer, type F on the keyboard
and now let's select the camera.
| | 04:49 | We can select it from the
screen, of course. All right!
| | 04:53 | To adjust the zoom, we want
to adjust the focal length.
| | 04:57 | Go to the Projection tab of the
camera and find the focal length parameter.
| | 05:03 | This slider adjusts the
focal length, shorter and longer.
| | 05:08 | A short focal length is a wide-angle
lens and a long focal length is a zoom lens.
| | 05:14 | Now let's see how that looks
when looking through the camera.
| | 05:18 | So, to look through the camera,
we'll go to our camera list pop-up.
| | 05:21 | We'll set it for SideCam. Click camera lock.
| | 05:25 | We'll zoom out a little bit, so we can
see our camera aperture and now we can
| | 05:29 | see what the focal length adjustment will
look like, while we look through the camera lens.
| | 05:33 | Go to a wide angle lens, with a short focal
length and a zoom lens with a long focal length.
| | 05:43 | We'll put it back to the default of 50 by
doing a Command+Click on the slider line.
| | 05:49 | Let's zoom into our Viewer a little bit
and now we can see the virtue of naming
| | 05:55 | all of our cameras so clearly.
| | 05:57 | We can now look at the pop-up and say,
okay, "I want to see it from the HiCam
| | 06:01 | point of view," or, "I want to see it from the
LoCam," or, "I want to see it from the SideCam."
| | 06:09 | However, no matter how many cameras
you have, or which one you're looking
| | 06:13 | through, there's only one camera
that controls the actual 2D render.
| | 06:17 | That's right down here and that's
the camera that's hooked up to the
| | 06:21 | Scanline Render node.
| | 06:23 | In this case, it's the HiCam.
| | 06:25 | So, we'll switch the view to HiCam.
| | 06:29 | Then go to the 2D Viewer and it renders
the view from the HiCam point of view.
| | 06:36 | If I want the 2D render to be from any
other camera, I will have to reconnect
| | 06:41 | the Scanline Render camera
input to that new camera.
| | 06:44 | So, there is render from the LoCam
node and there it is with the SideCam and
| | 06:51 | we'll put it back to the original HiCam.
| | 06:57 | So, whenever you want to combine
multiple 3D objects into a single composite,
| | 07:02 | you're going to have to use the Scene
node in order to combine them together
| | 07:06 | into a single logical entity that you
can hook to the Scanline Render node,
| | 07:10 | along with your chosen camera.
| | 07:13 | We also saw how you can have add all
the 3D lights you want and determine
| | 07:18 | whether they're a point light, a
directional light - which is a parallel light - or
| | 07:22 | a spot light, and then you can adjust
their intensities and even their color.
| | 07:27 | We also saw how to add multiple
cameras to a 3D scene, but only one of them
| | 07:32 | can be connected to the Scanline
Render and that one determines what the
| | 07:36 | Output Render will be.
| | Collapse this transcript |
| Projecting textures onto a plane| 00:01 | For compositors that work primarily
with 2D, UV projection or projecting
| | 00:06 | textures is a brand new concept.
| | 00:09 | The idea is when you want to lay a
texture on top of 3D geometry, the computer
| | 00:14 | has to be told how to place it, how to
project it, and the way it's done is the geometry,
| | 00:21 | all the little vertices of the geometry,
are assigned what are called UV coordinates.
| | 00:26 | Those coordinates point to spots
in the texture map, in the image.
| | 00:31 | So, the UV coordinates of the geometry
determine how that image will be laid on
| | 00:37 | top of the geometry.
| | 00:38 | We're going to be looking at the
UVProject node, which changes the UV coordinates
| | 00:43 | of the vertices of the geometry and
this allows you to project textures onto
| | 00:48 | images in different ways.
| | 00:50 | So, let's start by getting Marcie from lesson 1.
| | 00:54 | Go to the Read node, punch up our
workshops, go to Lesson_01, and get Marcie.
| | 01:03 | Okay, now let's switch to the 3D Viewer,
give ourselves a little more workspace
| | 01:10 | and punch up our 3D view here.
| | 01:12 | All right. We will go to the 3D tab, to the
geometry pop-up and let's add a cube.
| | 01:20 | As we know, if we connect an image
like Marcie to any 3D geometry, the image
| | 01:25 | gets texture-mapped on it.
| | 01:27 | That's because all the Nuke
geometric primitives already have default
| | 01:31 | UV coordinates that assign what part of
the image goes to what part of the geometry.
| | 01:38 | Before we get into the UVProject node,
I wanted to point out that you can add a
| | 01:43 | Transform node at any time to the
image - now this is to the image, and that
| | 01:47 | will transform the image before it
gets projected onto the geometry.
| | 01:53 | I'll reset that back to default.
| | 01:55 | We'll try the scale, back to
default, and even the skew. Okay.
| | 02:02 | We'll set that back to default. All right.
| | 02:04 | We don't need the Transform node anymore.
| | 02:07 | I just wanted you to know that another
level of control in how these maps get
| | 02:11 | laid onto the geometry is to add a Transform
node to the texture map itself or the image.
| | 02:18 | We don't need this Read node anymore,
so we'll close the Property panel.
| | 02:22 | We'll select the Cube geometry, go up to
the 3D tab and select Modify > UVProject.
| | 02:33 | That adds the UVProject node to the
cube and this node will now allow us to
| | 02:38 | assign different ways of projecting
the texture map onto the geometry.
| | 02:44 | That's controlled up here, in the property
called projection. The default is Perspective.
| | 02:49 | We're going to actually look at that later.
| | 02:51 | So, let's start by
selecting the planar projection.
| | 02:55 | Notice that the planar projection looks
very different than the default UV projection.
| | 03:01 | A planar projection is as though you
took the image and put it on a flat piece
| | 03:05 | of cellophane and then walked up to the
geometry and just glued it right on the face.
| | 03:11 | So, the image was held as a flat plane
and then laid onto the geometry, hence
| | 03:17 | the term planar projection.
| | 03:19 | Now, you can control which
direction the plane is projected from.
| | 03:25 | We will zoom out a little bit, turn around here.
| | 03:29 | This, of course, is the x axis and
this is the z axis. Don't forget you have
| | 03:34 | your little 3D compass down here in
the corner, and, of course, the y axis is
| | 03:39 | straight up and down.
| | 03:41 | The default plane to project for a
planar projecting is the XY plane, that
| | 03:46 | is the x and the y.
| | 03:48 | So, the projection is coming straight down the
z axis and laying on the face of the geometry.
| | 03:54 | This pop-up, right here, allows you
to change the plane of projection.
| | 03:58 | We'll orbit around to the side.
| | 04:00 | Okay, so this is now the z axis and
the y axis, so we'll set the plane to YZ
| | 04:08 | and now it's as though it slid down
the x axis and pasted as a plane on the
| | 04:13 | side of the geometry.
| | 04:17 | This is the x axis.
| | 04:18 | This is the z axis. So, if we change the
plane to XZ, it's as though it slid down
| | 04:25 | the y axis to land on the top.
| | 04:28 | So, let's put the plane back to
default. Come back around to the front.
| | 04:35 | Take a look at the invert u and v.
The u coordinates are the horizontal
| | 04:41 | coordinates and the v
coordinates are the vertical coordinates.
| | 04:45 | So, if we invert the u coordinates, we have
swapped the image left and right. Put that back.
| | 04:52 | Invert the v coordinates,
| | 04:53 | we swap it top to bottom, put that back.
| | 04:56 | The u scale allows us to stretch or
squeeze the image horizontally, like so,
| | 05:03 | back to default, and the v scale,
vertically, like so, back to default.
| | 05:11 | So, these are some of the
controls you have in the UVProject node.
| | 05:15 | When you want to do a planar projection,
you can project it from any one of the
| | 05:19 | three directions and you can
stretch it and scale it to fit.
| | 05:24 | So, if you want to project a texture map
on essentially flat geometry, the planar
| | 05:28 | projection works well,
| | 05:30 | but if your geometry is more spherical,
then you're going to want to use a
| | 05:33 | spherical projection.
| | 05:35 | We'll see that in our next movie.
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| Projecting textures onto a sphere| 00:00 | For our next projection method, we'll take
a look at spherical projection. All right.
| | 00:05 | Let's clear the Property bin, select
Marcie, come up to the 3D tab and do a
| | 00:13 | Shift+Click on a Sphere.
| | 00:16 | That will add a sphere to our 3D
database and, of course, Marcie is projected
| | 00:23 | onto the sphere using the sphere
default UV coordinates, but again, we can
| | 00:28 | change those with the UV project node.
| | 00:31 | So, let's pull the UV project node
over here, hook it up to the sphere
| | 00:35 | and double-click on it.
| | 00:38 | Don't forget, UV Project node we
will set for a planar projection.
| | 00:42 | So, if we swing around and there it is, our
planar projection on top of a spherical shape.
| | 00:50 | However, if the geometry is generally
shaped spherically, then we are going to
| | 00:55 | want to do a spherical projection.
| | 00:58 | A spherical projection is as though
you took that Marcie picture, wrapped it
| | 01:02 | inside a glass sphere and then
shrink wrap it down onto the geometry.
| | 01:07 | That would be a spherical projection.
| | 01:10 | So, we'll set the projection for
spherical and immediately this looks like a
| | 01:15 | spherical projection.
| | 01:18 | The plane parameter has no effect in a
spherical projection, but the invert u
| | 01:22 | will swap it horizontally and invert
v will swap it vertically, and the u
| | 01:27 | scale, now, stretches or squeezes the
image around the equator and the v scale
| | 01:36 | stretches or squeezes the image from pole to
pole. We'll put both of those back to default.
| | 01:43 | By the way, you may have noticed
there's an ugly little scene back here.
| | 01:48 | The UV Project node, in the spherical
projection format, seems to have a little
| | 01:54 | bug, which has already been
reported, and that is bug 8062.
| | 02:01 | If you're geometry is shaped more like a
cylinder, then you are going to want to
| | 02:04 | use cylindrical projection, which
we'll see in the very next video.
| | Collapse this transcript |
| Projecting textures onto a cylinder| 00:01 | All right. Now let's look at the next projection mode.
| | 00:04 | Let's clear the Property bin, select
Marcie, go to the 3D tab, go to the
| | 00:11 | Geometry and do a Shift+Click on
Cylinder. So, we'll add a cylinder.
| | 00:21 | And let's close the top and the bottom
and again, the cylinder has a default UV
| | 00:26 | projection, which allows Marcie to
be projected around the cylinder,
| | 00:32 | but, of course, we are going to
change that with the UV project node.
| | 00:35 | Disconnect it from the sphere, attach it
to the cylinder and double-click on the
| | 00:41 | UV project node and remember, this node
was left in the Spherical projection, so
| | 00:47 | it has now done a spherical projection
of Marcie around a cylindrical object.
| | 00:52 | Of course, this is an awkward fit.
| | 00:57 | So, let's change the projection
to cylindrical so it better matches
| | 01:00 | the geometry, okay?
| | 01:04 | Again, the plane XY has no effect,
invert u swaps it horizontally, invert v
| | 01:11 | swaps it vertically and the u scale
scales it around the equator again, and the
| | 01:20 | v scale, squeezes and
stretches it from top-to-bottom.
| | 01:23 | We'll set both of those back to default.
| | 01:27 | The cylindrical projection mode also
has a display bug, which is already
| | 01:32 | logged as bug 5420.
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| Adding an Axis node| 00:01 | The UVProject node has a second
input here, that you may have noticed,
| | 00:04 | the axis/cam input.
| | 00:07 | This is where we can hook up an axis
or a camera, which would give us an
| | 00:11 | additional set of 3D transformation controls
to help position and size our texture maps.
| | 00:18 | For those of you who are not familiar
with 3D, you can think of an axis as a
| | 00:22 | three-dimensional hook hanging in space,
that you can then attach geometry or images to.
| | 00:29 | It's in and of itself invisible, but
it gives us handle that we can use to
| | 00:34 | twist, turn, rotate, and
size and stretch other objects.
| | 00:38 | Some 3D systems called these Null Objects.
| | 00:41 | Well let's take a look at how we might
use an axis to help refine our texture maps.
| | 00:46 | We will come up to the 3D tab and an Axis is
the first item in the list. Click on that.
| | 00:52 | We will move it over here and we'll hook
up the axis/cam connector to it and the
| | 00:59 | Axis property panel is now at
the top of the Property bin.
| | 01:03 | To see how it works,
let's switch over to the Cube.
| | 01:06 | So, we'll disconnect the UV Project node
from the cylinder and hook it up to the Cube.
| | 01:12 | We'll clear the Property bin,
double-click on UVProject node.
| | 01:16 | So, now we are looking at
the cube with the UVProject node.
| | 01:20 | Of course, the projection was left at
cylinder so we are going to change that
| | 01:24 | back to planar and take a look at what we got.
| | 01:31 | And double-click on the Axis node to
open it up in the Property panel and the
| | 01:36 | Axis icon appears here in the 3D viewer.
| | 01:39 | It's a three-dimensional compass, just
like the one done here in the corner.
| | 01:44 | Now we can use the axis to
reposition the texture map.
| | 01:47 | For example, we can grab the y axis
and drag it up and down to reposition it
| | 01:52 | vertically or the x axis
horizontally, or holding down the Command key,
| | 01:59 | we can use the onscreen
rotation controls to swirl it around.
| | 02:05 | We can also come up to the
Property panel and interact directly.
| | 02:08 | For example, we can click on rotate, Alt
and drag to rotate it around its x axis.
| | 02:17 | We can also do a uniform scale or
if we want to, just a scale in y.
| | 02:27 | So, we can reposition, reorient and
resize the texture map with the Axis node,
| | 02:32 | either with the onscreen controls or by
editing the parameters in the Property panel.
| | 02:38 | Let's reset all the knobs to default in
the Axis node and switch over to the Sphere.
| | 02:46 | Unhook the UVProject, hook it to the
Sphere, double-click on the UVProject node,
| | 02:52 | and let's set the projections for spherical.
| | 02:54 | Okay, and, of course, we have
a nice spherical projection.
| | 03:01 | Now let's see what the Axis node
does to a spherical projection.
| | 03:06 | If we translate, for example, in X or Y,
we are actually shifting the center of
| | 03:10 | the spherical projection and that can
introduce some serious distortions, but in
| | 03:15 | some cases, that might be
what you want. We'll undo that.
| | 03:18 | Of course, one handy thing with this,
we'll get down here and look it from the top,
| | 03:24 | you can rotate the
texture map around the y axis.
| | 03:32 | This is not the u scale we saw before.
| | 03:35 | This actually rotates the entire
texture map around the equator.
| | 03:39 | We'll set that back to default and,
of course, we can scale in y only if we
| | 03:45 | wish, which would be analogous to
the v scale in the UVProject node.
| | 03:51 | We'll undo that and, of course, we can
try it on our cylinder. Disconnect the UV
| | 03:56 | Project node from the Sphere, connect
it to the cylinder. Double-click on UV
| | 04:01 | Project and change the
projection to cylindrical.
| | 04:07 | Now let's see what the axis will
do to a cylindrical projection.
| | 04:11 | I'll rotate in y, of course.
| | 04:14 | We'll rotate the whole
texture map around the cylinder.
| | 04:16 | You can now adjust the position of the
label of your can, as it were.
| | 04:20 | We'll undo that and, of course, we can
scale it in x if we wish, and undo that.
| | 04:29 | In this video, we saw how to attach
an Axis node to the UVProject node to
| | 04:33 | adjust our texture maps.
| | 04:35 | In the next video, we'll see how to
attach a camera and what additional
| | 04:39 | capability that will give us.
| | Collapse this transcript |
| Connecting the camera to the UV project node| 00:01 | Now, let's see what's added when we
connect a camera to the UV Project Node.
| | 00:05 | We will move this over here.
| | 00:07 | First, deselect by clicking in the Node Graph.
| | 00:11 | Come up to the 3D tab and let's add a Camera.
| | 00:16 | We'll disconnect the access from the
UVProject node and hook up the camera instead.
| | 00:21 | Also, let's switch over to the sphere.
| | 00:24 | So, unhook the UVProject from the
Cylinder. Connect it to the Sphere.
| | 00:29 | We won't need this Axis Property panel anymore,
| | 00:31 | so lets clear that.
| | 00:35 | Okay, we'll swing around to where the
camera is and with the camera selected,
| | 00:40 | we can now pull back on the Z axis and
pull the camera out from inside the sphere
| | 00:46 | because it landed at origin, like it always does.
| | 00:48 | And in the UVProject Property panel,
change the Projection mode from
| | 00:54 | Cylindrical to Perspective.
| | 00:57 | What we've done here is the
camera is now like a slide projector.
| | 01:02 | It's now projecting a
perspective version of the image.
| | 01:05 | This is not the planar projection.
| | 01:08 | So, it's just like you put the picture
in a slide and you shine it on a sphere
| | 01:12 | or a cube or a, whatever you want.
| | 01:15 | You are going to get a
perspective version of the picture.
| | 01:18 | There's something else I'd like to show you.
| | 01:22 | So, we will re-pull the Node graph down here.
| | 01:24 | We'll move Marcie up to make a little bit of room.
| | 01:27 | Go to the Transform tab and add a Black
Outside node and look what we have got.
| | 01:33 | The black outside - without the Black
Outside node, Nuke smears the edge pixels,
| | 01:40 | but with the Black Outside node,
it actually cuts the image off.
| | 01:45 | And now, we can move our
camera, and this is what we get.
| | 01:52 | Note that the camera is projecting
on the front side and the backside of
| | 01:56 | the geometry, okay?
| | 01:57 | That's sort of the way it works.
| | 02:00 | So, with the addition of the camera
now, we can switch the camera to the
| | 02:04 | Projection tab and adjust the focal length.
| | 02:08 | If we make the focal length short,
we get a big wide projection.
| | 02:12 | Set the focal length long, and
we get a very narrow projection.
| | 02:16 | So, this is yet another control, but
it only applies when you have the camera
| | 02:22 | attached to the UVProject node and the
UVProject mode is set for perspective.
| | 02:28 | And of course, we can do the camera's
onscreen controls: the Y axis, the X axis
| | 02:38 | and the Command key for the onscreen
rotation controls, as well as coming back
| | 02:46 | to the Camera Property panel and
adjusting the Property panel directly.
| | 02:56 | So, the camera actually adds the focal length
as yet another control to our UV projection.
| | 03:02 | In this movie, we saw how the UV
coordinates of the geometry determines the
| | 03:08 | placement of the texture map.
| | 03:10 | And the UVProject node modifies those UV
coordinates using several possible schemes.
| | 03:16 | One is the planar projection, where it
just lays a flat version of the image on
| | 03:21 | the geometry. The other is a spherical
projection where the image is wrapped in
| | 03:25 | a glass globe, if you will, and
then shrink wrapped onto the geometry.
| | 03:30 | A cylindrical projection, which wraps
the image into cylinder and shirk wraps
| | 03:34 | that on the geometry, and the camera
projection, where the image is like put through a
| | 03:39 | slide projector and shines on the geometry.
| | 03:43 | And we also saw how adding an axis
or a camera dramatically increases the
| | 03:47 | control we have over size,
orientation and position of the texture maps.
| | Collapse this transcript |
|
|
7. Animation and ShadersBasic Bicubic operations| 00:01 | There comes a time in every
compositor's life where he'd like to put an image
| | 00:05 | on a three-dimensional flexible rubber
sheet and stretch and pull and bend to
| | 00:10 | make it fit the shot.
| | 00:12 | That's exactly what Nuke's bicubics
allow you to do. Let's take a look.
| | 00:16 | Let's go get Marcie.
| | 00:18 | Of course, she's in Lesson_01. All right.
| | 00:25 | We'll attach a card because the
bicubics are another feature of the card.
| | 00:32 | A little more of 3D viewer, please.
| | 00:35 | Switch the viewer to 3D.
| | 00:36 | F, orbit and admire.
| | 00:43 | We don't need the Read node anymore.
| | 00:45 | So, we will close that Property panel,
and switch the Card tab from Card to Deform.
| | 00:52 | There's not much happening here until
you go to Type and open it up and select
| | 00:58 | bicubic, and then the
whole bicubic world unfolds.
| | 01:02 | The basic concept is you can now grab
any of these control points and move them
| | 01:09 | in - we'll click off to the
side to deselect - and move them in
| | 01:13 | three-dimensional space, okay?
| | 01:17 | And you can also adjust the tangents.
| | 01:24 | So, the card can be deformed organically,
very smoothly, in all three-dimensions,
| | 01:30 | at any point on the card. Okay.
| | 01:37 | You can also adjust them
with the perimeter field.
| | 01:40 | I am going to select the middle point here.
| | 01:43 | With this guy lit up, then his
coordinates are over here in the perimeters field.
| | 01:48 | And I can now adjust these, if I want, by
the numbers and in z, okay. All right.
| | 02:01 | By selecting the card, we can
see the precision of the geometry.
| | 02:05 | Of course, this has the default, 8 x 8.
| | 02:09 | We can see that the
edges don't look very smooth,
| | 02:12 | but you can always go back to the Card
tab and crank up the rows and columns to
| | 02:19 | a much higher precision, and now
the edges will look much smoother.
| | 02:23 | We'll go back to the Deform tab to
take look at the break tangent option.
| | 02:30 | The break tangent option is located right here.
| | 02:33 | To see that, we'll orbit around the
front - deselect the card so we are not
| | 02:37 | looking at our polygons -
| | 02:39 | we'll zoom in and look at
this tangent control right here.
| | 02:45 | With break tangent
disabled, which it is right now,
| | 02:47 | that's the default condition,
| | 02:49 | when I rotate the tangents,
they both rotate together.
| | 02:52 | And when I shrink one in or out,
the other one doesn't move with it.
| | 02:56 | They are independent in their tension,
but they are locked together in their slope.
| | 03:02 | If I select break tangent, now the
slope is broken and we can put it back by
| | 03:09 | undoing Break Tangent and then the
next time you click on it, they are locked
| | 03:13 | back together again.
| | 03:15 | The Mirror Tangent has to do with the tension.
| | 03:19 | Notice now, they both move together
in tension or in length of the tangent.
| | 03:25 | With that turned off, the length of one
side does not affect the length of the other.
| | 03:31 | We'll move Marcie out, orbit around
here to take look at one more feature.
| | 03:37 | In addition to the bicubic
option, there is also the Bilinear.
| | 03:40 | Now that's the exact same
three-dimensional vertex control,
| | 03:44 | you just don't have any of the tangents.
| | 03:47 | Actually, that's no fun, and I don't know
why anybody would want that, but there it is.
| | 03:52 | So, we'll put it back to bicubic.
| | 03:55 | Now, the Reset Handle button, right here,
resets all the handles and basically,
| | 04:00 | it's a complete do over.
| | 04:02 | It sets all the control points back to
the starting condition, one click, and
| | 04:06 | then wants a confirmation, because
all your work is going to be lost.
| | 04:10 | And there you have it.
| | 04:10 | We are back to the initial starting condition.
| | 04:15 | In the next video, we'll see how to
increase the number of control points in
| | 04:18 | the bicubic card.
| | Collapse this transcript |
| Adding more control points| 00:01 | The default number of control points is
a 3x3, 1-2-3 here, and 1-2-3 down the
| | 00:08 | side. And they are listed
right here, x/y points, 3 x 3.
| | 00:12 | You, of course, can set it up with
any number of points you'd like.
| | 00:15 | For example, we could say 7, Tab, 5.
| | 00:20 | Now, when I click new shape, you are
going to get a warning message because
| | 00:24 | this will undo all of your work.
| | 00:26 | We'll click Yes and we have now 7
controls points horizontally and 5 vertically.
| | 00:33 | Just to show you what I mean, I am
going to add some deformations to this.
| | 00:38 | And then I am going to put it back to
the 3 x 3, 3 Tab 3, new shape and again,
| | 00:44 | the warning message
because all the work is lost.
| | 00:47 | So, always remember that.
| | 00:49 | You want to do the new shape
before your invest any work into it.
| | 00:53 | Now, there is another way you can subdivide
the controls after you have started your work.
| | 00:59 | For example, we'll just
do some deformations here.
| | 01:01 | All right, and use the x y subdivide
to add more control points in between.
| | 01:12 | The x y subdivide is right here.
| | 01:15 | The x subdivide and the y subdivide.
| | 01:17 | The caveat is they are uniformly spaced.
| | 01:20 | So, if I click x subdivide, it adds
exactly half line between all the other
| | 01:25 | points, but the key is it did not undo my work.
| | 01:30 | Now, I can do y subdivide and get
another set in between those, vertically.
| | 01:35 | Of course, you can keep doing the x and
y subdivide. The problem will become
| | 01:40 | you'll have a lot more control points
than you want, if you are not careful.
| | 01:43 | So, let's undo that. Undo,
undo, undo and undo, and undo.
| | 01:50 | To take a look at the next way of the
subdividing the control points - you see
| | 01:56 | this little red icon that's on the screen?
| | 01:58 | I want to stick that right on
my Marcie's nose. We'll zoom in.
| | 02:05 | This becomes the center of subdivision
for the next feature, the uv subdivide.
| | 02:12 | If I click on that, it adds another row,
vertically and horizontally, centered
| | 02:18 | on that exact spot.
| | 02:20 | I can now move the little red icon and I
now have a control point exactly on her nose.
| | 02:25 | We'll undo that and that.
| | 02:29 | I can also subdivide in just one dimension only.
| | 02:33 | So, we'll put this back on her nose
and I'll say u subdivide and I get just a
| | 02:38 | vertically subdivision again, centered
on that little red icon. We'll undo that.
| | 02:44 | Or say v subdivide and I get the
horizontal subdivisions only, and we'll undo that.
| | 02:51 | So, three ways to increase the
precision or to subdivide your control mesh.
| | 02:57 | Again, if you do the x y points - don't
forget, when you click new shape, it'll
| | 03:02 | completely obliterate all
your work and start over again.
| | 03:05 | The x and y subdivide can be done after
you have deformations, but the caveat is
| | 03:10 | they are just going to be equally spaced.
| | 03:12 | You may not get them where you want.
| | 03:14 | The last one the uv subdivide is
controlled by the location of the little red icon.
| | 03:20 | In our next video, we'll see how to
keyframe animation with card bicubics.
| | Collapse this transcript |
| Animating bicubics| 00:01 | Now, let's look at doing keyframe animation.
| | 00:04 | I'm going to zoom out a little bit, give
it a bit of a turn and make sure I'm on
| | 00:08 | frame 1 in my timeline.
| | 00:11 | We'll add a bit of the
deformation here, nothing clever.
| | 00:13 | Then we click on set key.
| | 00:19 | Notice my parameters have
lit up with the keyframe color.
| | 00:22 | The timeline has a keyframe mark.
| | 00:24 | So, this shape has now been keyed on frame 1.
| | 00:28 | I'll come out to frame 50, change my shape, do
something like this and I'll say set key again.
| | 00:43 | I now have a second keyframe here.
| | 00:48 | To set the keyframe at the end of the
timeline, I'm going to make a copy of the
| | 00:53 | keyframe at frame 1.
| | 00:55 | Position the playhead at
frame 1 and say shape, copy.
| | 01:00 | I've now copied the shape at frame 1.
| | 01:02 | Move the play head to the end of
the shot, frame 100, and click paste.
| | 01:09 | I've now got an exact copy at frame
100 of the shape I have at frame 1.
| | 01:14 | And now I can play my animation and I've got
a lovely keyframe animation. We'll stop that.
| | 01:25 | In this movie, we saw how to use
the bicubics to perform nonlinear 3D
| | 01:30 | deformations on any image,
| | 01:32 | how we can adjust the tension of the
control points, increase the subdivision
| | 01:36 | or the precision of the control points and
also increase the precision of the geometry.
| | 01:42 | We also saw how to do keyframe
animation and even how to copy keyframes from
| | 01:47 | one frame to another.
| | Collapse this transcript |
| Transforming geometry| 00:01 | To animate Geometry in Nuke, there
are three different tools you can use.
| | 00:06 | Each geometric primitive has
transformations built into the node.
| | 00:09 | There's also the
TransformGeo node and there's an Axis.
| | 00:14 | Let's start by going up to the 3D tab,
select the Geometry pop-up and we'll add a Sphere.
| | 00:20 | A little more room for the 3D Viewer,
switch the Viewer to 3D, click in the
| | 00:27 | Viewer, f on the keyboard,
zoom out, orbit around.
| | 00:32 | And here are the Transform parameters
built into the Sphere node and, of course,
| | 00:36 | we can edit any of these
values and transform our Sphere.
| | 00:40 | Okay, we'll undo that.
| | 00:43 | We can also add a TransformGeo node, so
we'll come up to the 3D tab, come to the
| | 00:48 | Modify pop-up and select TransformGeo.
| | 00:53 | You'll notice the TransformGeo Transform
parameters are absolutely identical to the Sphere.
| | 00:59 | In fact, they're an exact duplicate.
| | 01:01 | So, we can animate the Sphere, also, using the
TransformGeo node, as well. I'll reset that.
| | 01:08 | Now to edit an Axis, we'll click off
to the side over here, come up to this
| | 01:13 | 3D tab and select Axis. And again, we have
the exact same set of Transform parameters.
| | 01:20 | Okay, looking at the TransformGeo node,
you'll see that it has an Axis input, so
| | 01:25 | we can connect that to the Axis here
and yet again, a third way of moving the
| | 01:32 | Geometry, just like we did
before, and we'll undo that.
| | 01:37 | So, what's the difference?
What's the point?
| | 01:39 | All right. I'll show you.
| | 01:41 | I'll move the Viewer out of the
way, because we don't need that.
| | 01:47 | Double-click on the Sphere node.
The Transform parameters in the Sphere node can
| | 01:51 | only move that Sphere.
| | 01:56 | The TransformGeo node can transform
any Geometry, including an OBJ file or a
| | 02:02 | cluster of Geometry that's been
merged using the MergeGeo node.
| | 02:07 | We'll double-click on the Axis here and
the Axis can only move things that will
| | 02:11 | accept an Axis input, such
as the TransformGeo node.
| | 02:15 | But here's another thing the Axis node can do.
| | 02:17 | I'm going to select the TransformGeo node,
copy it, paste, paste, paste and paste.
| | 02:26 | So, I now have a whole
bunch of TransformGeo nodes.
| | 02:29 | I can now hook the Axis input of all
these TransformGeo nodes up to our Axis
| | 02:35 | and now, if I animate anything in this Axis,
all of the TransformGeo nodes will inherit it.
| | 02:44 | The TransformGeo node also has this
other interesting-looking input called look.
| | 02:49 | We'll be taking a look at look later,
but what it does is it allows the Geometry
| | 02:55 | to look at, or stare, at a target object.
| | 02:59 | So, we'll see that in a minute.
| | 03:01 | In the next video, we'll see how to
use the MergeGeo, TransformGeo and Axis
| | 03:06 | nodes to do a typical production problem.
| | Collapse this transcript |
| Hierarchical animation| 00:00 | Now let's see how we use the MergeGeo
and TransformGeo nodes along with and Axis
| | 00:05 | node to do some hierarchical animation.
| | 00:08 | First, let's load a Nuke Script.
| | 00:10 | We will open up the Nuke Browser.
| | 00:13 | Go to our workshop, Lesson_07_Media,
select the spheres script, scoot them up
| | 00:21 | here, increase the Viewer size,
switch to the 3D Viewer, and orbit out, and
| | 00:30 | maybe zoom out a little
bit here, like so. Okay.
| | 00:36 | The spheres don't show up, of course,
until we open them in the Property bin.
| | 00:39 | So, I will double-click on Sphere 1, 2, 3, and 4.
| | 00:44 | And maybe we will pull out a little bit more.
| | 00:47 | And that lights them all up as
a nice, pretty green wireframe.
| | 00:55 | Now, if I want to merge all these
spheres into one single geometric object, I
| | 00:59 | will use the MergeGeo node.
| | 01:01 | So, let us deselect those, come up to
the 3D tab, select Modify > MergeGeo.
| | 01:08 | Move that down here, push in a little bit.
| | 01:14 | And we can actually drag the sphere
arrow, one at a time, to the MergeGeo node
| | 01:18 | like this, or we can pull it out from
here, whichever one you like. Okay.
| | 01:24 | Now, if I double-click on the
MergeGeo node, all the Spheres light up,
| | 01:29 | but the problem with the
MergeGeo node here is it has no
| | 01:33 | transformation capabilities.
| | 01:34 | We can't use the MergeGeo to move anything.
| | 01:37 | We can use it to group
things, but we can't move them.
| | 01:41 | And that's what the TransformGeo node is for.
| | 01:44 | So, we do not need this Viewer.
| | 01:47 | We will move that over there.
| | 01:48 | We will select MergeGeo, the
3D tab > Modify > TransformGeo.
| | 01:59 | The TransformGeo node has now added a
whole set of transformations that we can
| | 02:03 | move the entire merged group
around with, like this. All right.
| | 02:10 | I will undo that.
| | 02:14 | Let's clear the Property bin and
then put the TransformGeo node back.
| | 02:18 | I am going to give this
TransformGeo node a simple little animation.
| | 02:23 | So, I am going to select the y, hit the
Equal sign, so I can enter in an Expression.
| | 02:29 | The expression I am going put
in is the sin(frame/10)*.2.
| | 02:40 | So, now when I play this, my geometry
bobbles up and down with a little Sine wave action.
| | 02:46 | Okay? All right.
| | 02:49 | Next, we will stop that.
| | 02:50 | I am going to make a copy of the full
set of nodes, copy those, click off to the
| | 02:59 | side, and paste those. Okay?
| | 03:05 | In the second TranformGeo node, I
will edit this expression to make it a
| | 03:09 | little different by putting a Minus
sign in front and we will raise it up a
| | 03:13 | little bit in y with a +2. All right.
| | 03:16 | Now we have another set. Okay.
| | 03:19 | And let us also rotate y
45 degrees, as a fixed value.
| | 03:25 | Shift+Click on the other
transform so they all light up.
| | 03:30 | And now let us see what we got when
we play this animation. There we go.
| | 03:36 | Okay.
| | 03:38 | So, these two groups of geometry
have their own separate animations from
| | 03:43 | the TranformGeo nodes.
| | 03:46 | We can take a look at that
from a different angle.
| | 03:48 | All right. We will stop that.
| | 03:55 | And now let's add an Axis node.
| | 03:57 | I am going to deselect, go up to
the 3D tab, and add an Axis node.
| | 04:03 | I will hook it to the Axis input
of each TransformGeo node, okay?
| | 04:14 | Now in the Axis node, I am going to add
a rotation animation, a rotation in y.
| | 04:19 | I will select y, hit the Equal sign to
enter an expression, and I will enter the
| | 04:24 | Nuke variable frame.
| | 04:26 | So, the frame number will become the
degrees of rotation. We will say OK.
| | 04:31 | I will also select the two transform nodes
to light them up, just because it's pretty.
| | 04:38 | And now, the Axis node has added its
own rotation on top of the two animations
| | 04:44 | that are in the TransformGeo nodes.
| | 04:47 | The virtue of this is twofold.
| | 04:48 | First of all, I can go in and edit the
animation in the Axis node, and it won't
| | 04:53 | disturb the animation in the Geo nodes.
| | 04:56 | Second, both nodes will inherit the new
animation, because it's obviously linked to it.
| | 05:04 | And third, I can pipe that Axis animation
to as many TransformGeo nodes as I want.
| | 05:12 | So, this arrangement allows the
TransformGeo nodes to have their own animation
| | 05:17 | and have a shared animation with the Axis node.
| | 05:20 | So, you can see that Axis node is
that 3D handle in space that I was
| | 05:25 | talking about earlier.
| | Collapse this transcript |
| Setting geometry to look at a target| 00:01 | Sometimes you will need the geometry to
stare at, or look at, another moving target.
| | 00:06 | The TransformGeo node has
just the thing you need.
| | 00:10 | To see how that works, we are going
to need some geometry from Lesson_06.
| | 00:14 | So, let's go up to the 3D tab, go to
Geometry, and get the ReadGeo node.
| | 00:19 | We will browse our way to the NUKE
WORKSHOP/Lesson_06_Media, and select the
| | 00:27 | head.obj, and open that.
| | 00:30 | We will move this up,
| | 00:33 | and a little more room for our Viewer,
cursor in the Viewer to switch to the 3D
| | 00:38 | view, F to frame, zoom out,
orbit around to admire our geometry.
| | 00:46 | The next thing we need to do is to
add a TransformGeo node to the geometry.
| | 00:50 | So, with the ReadGeo node selected, we
go to the 3D tab > Modify > TransformGeo.
| | 01:01 | Here is that look input that we saw before.
| | 01:04 | Any 3D object that we hook up to the look
input, the geometry will turn and stare at it.
| | 01:10 | We will use an axis, but it could be a
camera or a cube or any other 3D object,
| | 01:16 | it doesn't matter. As long as it is
a 3D object, the look will work.
| | 01:19 | So, we will deselect the TransformGeo
node, come up to the 3D tab, and select an
| | 01:25 | axis, and hook that up to the
look input of the TransformGeo node.
| | 01:30 | I am going to move the
axis out in z. There we go.
| | 01:37 | Let's put it out at exactly 2.
| | 01:38 | I am going to Shift+Click on the
TranformGeo node so that it will light up in
| | 01:43 | the green wire frame, because I
like it to look that way. All right.
| | 01:46 | Now when I move the axis, the
geometry is transformed to always look at it.
| | 01:54 | Slick. Now there is
nothing to enable or turn on.
| | 01:58 | Simply hooking something up to that
look input, the TransformGeo node will,
| | 02:02 | from that point forward, twist the
geometry to always look at it.
| | 02:06 | We do have some controls over it, however.
| | 02:08 | Let's double-click on the TransformGeo
node in order to put the TransformGeo
| | 02:13 | Property panel at the top of the Property bin.
| | 02:15 | And let's go to the Look tab. Click on that.
| | 02:19 | The first thing you will see is the
look axis. By default, that's +Z. The Z
| | 02:25 | axis being here, with this side being
the +Z, that means this is the side that
| | 02:31 | will face the axis.
| | 02:33 | If I were to select, for example, -Z,
then the back of the head will flip
| | 02:38 | around to face the axis.
| | 02:40 | If I were to select +X, that means the
side of the head would be facing the axis,
| | 02:47 | but we will put it back to the default, +Z.
| | 02:54 | I will do a Shift+Click, so I have both
the axis and the TransformGeo selected.
| | 03:00 | That way, everybody is lit up real nice.
| | 03:03 | So, as I move the axis, the head follows.
| | 03:06 | The head rotates in both X and Y. Up
here, at the Look tab, if I were to turn off
| | 03:14 | rotate Z and rotate X, now the head
will only move in rotate Y, no matter how
| | 03:21 | much I move the axis.
| | 03:27 | So, you can restrict the number of axes
that the geometry will rotate through.
| | 03:30 | I will turn them all back on.
| | 03:33 | The next item is the look strength.
| | 03:35 | To see how that works, let's get a
slightly different view, and look how much
| | 03:40 | the head turns when I move the geometry. Okay.
| | 03:44 | The look strength scales down
how much the head will rotate.
| | 03:48 | I will set that down to a very small number.
| | 03:50 | Now when I move the axis a lot,
the head only moves a little bit.
| | 03:54 | We will put that back to the default of 1,
and now the head is moving 100% again.
| | 04:04 | In this movie, we saw there were three
different ways of animating the geometry.
| | 04:08 | One is the transformations built
in to every geometric primitive.
| | 04:12 | The other is the TransformGeo
node, and, of course the Axis node.
| | 04:16 | But we saw the important
differences between each one.
| | 04:19 | The TransformGeo node can move any
amount of geometry, whereas the Axis is one
| | 04:25 | single movement, but it can be
connected to multiple objects so that gives you
| | 04:30 | one handle to move many things.
| | 04:33 | And another important feature that
only the TransformGeo node has is the look
| | 04:37 | function, where you can hook any
3D object into the look input of the
| | 04:41 | TransformGeo node, and it will rotate
the geometry to constantly look at it.
| | Collapse this transcript |
| The DisplaceGeo node| 00:01 | Nuke offers several
different ways to deform geometry.
| | 00:04 | You can displace the polygons with
images, or use math functions, or even
| | 00:09 | the Trilinear node.
| | 00:11 | First, we'll look at the most common, which
is to displace the geometry using an image.
| | 00:15 | To show you that, we will
start with the Bezier node.
| | 00:17 | We will put in a Bezier node here.
| | 00:20 | We will make the Viewer a little larger.
| | 00:26 | And I will create a simple shape, put
that over here, and that over there. Okay.
| | 00:35 | I will connect the Viewer to the Bezier,
and then we will add a Blur node, and
| | 00:40 | set the Blur for very large.
| | 00:44 | We now have a big, soft, fuzzy blob that we
can use to demonstrate displacing the geometry.
| | 00:49 | The way it works is the bright parts
of the image will raise the polygons up
| | 00:54 | high, and the black parts
won't touch them at all.
| | 00:57 | So, now, we are going to need a card.
| | 00:59 | We will deselect this, go over to
our 3D tab > Geometry and Add a Card.
| | 01:05 | We will switch the Viewer
to 3D. Punch up our Card.
| | 01:12 | Select the Card, so we can see our polygons.
| | 01:14 | Now we want this card to lay flat,
because one of the most common uses for
| | 01:18 | displacing the geometry is to create terrain.
| | 01:22 | So, we will set the Card orientation
to Zx, laying it flat on the ground.
| | 01:28 | Next, we will need the DisplaceGeo.
| | 01:31 | With the Card selected, we will
come up to the 3D tab to modify and
| | 01:37 | select DisplaceGeo.
| | 01:41 | This input here is the displace input,
which is where we connect the image.
| | 01:47 | So, we will hook that to
the Blur node, and viola!
| | 01:51 | Immediately, the geometry
is displaced vertically.
| | 01:54 | Now, this isn't a very interesting picture.
| | 01:57 | We are going to need more precision in our card.
| | 02:01 | So, let's increase the Card's rows/columns
from the default of 8x8 to 100, Tab, 100.
| | 02:08 | Now that's 10,000 polygons.
| | 02:10 | Now, we can see how the Bezier node
has pushed the polygons up where we have
| | 02:15 | white pixels and left them
flat where we have black.
| | 02:18 | So, that's the principle
of the DisplaceGeo node.
| | 02:22 | Now, let us look at a more realistic example.
| | 02:24 | I am going to close this
window down a little bit.
| | 02:26 | I will recenter the node graph,
and now we will go get a new image.
| | 02:31 | We will come up to the
Read node, go to our workshop/
| | 02:37 | Lesson_07_Media, and select
fooz_balls. We will open that.
| | 02:41 | And as you can see,
that's a very colorful image.
| | 02:45 | Let's hook the displace
input to the fooz_ball image.
| | 02:49 | Select the DisplaceGeo, so we can see
what we are doing, and now you can see the
| | 02:53 | very interesting terrain
that was created with that.
| | 02:57 | We don't need the Read node anymore,
| | 02:58 | so let's close that Property panel.
| | 03:02 | You may remember I told you that
Nuke could handle a lot of polygons.
| | 03:06 | Let's have a little fun.
| | 03:07 | We will go back to the Card, and set the
rows and columns from the current 100x100,
| | 03:12 | which is 10,000 polygons,
| | 03:14 | we will set that to 1000x1000, which is
one million polygons. And look at this.
| | 03:29 | Pretty nifty, huh?
| | 03:31 | So, Nuke can really handle a very
large database quite efficiently.
| | 03:35 | Well, let's put this back
to 100x100: 100, Tab, 100.
| | 03:39 | There we go.
| | 03:43 | By the way, if we have the Card
selected, and the DisplaceGeo selected, they
| | 03:48 | will both be viewed in the screen together.
| | 03:50 | You can see the original Card down
here and the displace Card up there.
| | 03:55 | This happens whenever there is original
geometry, plus a transformation or displacement of it.
| | 04:00 | If you have got them both selected,
| | 04:02 | you could see them both on screen at
the same time, and that can get confusing.
| | 04:05 | So, just deselect, and click the one you want.
| | 04:09 | Now, we only see the DisplaceGeo on the screen.
| | 04:13 | Let's take a look at some of the
features in the DisplaceGeo Node.
| | 04:16 | First of all, you can choose the
method, or the source, of the displacement.
| | 04:22 | The default is the luminance,
which you see right here.
| | 04:26 | But you can also switch the source
from the luminance to one of the channels,
| | 04:29 | like the red channel, the green
channel, and the blue channel.
| | 04:33 | Since our picture is so colorful,
there is a great deal of difference
| | 04:36 | from channel to channel.
| | 04:37 | We will put it back to the default of luminance.
| | 04:41 | You can also adjust the scale, which
simply increases or decreases how much
| | 04:45 | displacement you get from the image.
| | 04:48 | The filter size is really applying
a blur to the displacement image.
| | 04:53 | If we increase that, then the
displacement image simply smoothes out quite a bit.
| | 04:57 | I will put that back to default.
| | 04:59 | And this pop-up allows you to choose
different filters for the Blur operation.
| | 05:04 | We can also apply
transformations to the image itself.
| | 05:08 | So, I will move this over here a little bit.
| | 05:10 | I will select this, go to the
Transform tab, and select a Mirror node.
| | 05:17 | Again, selecting the Displacement Geo.
| | 05:20 | In the Mirror node, I can flip the
image horizontally, and, of course, the
| | 05:24 | terrain will flip horizontally.
| | 05:26 | Flip the image vertically.
| | 05:27 | All right. We will get rid of that.
| | 05:31 | The next thing we will try is a transformation.
| | 05:33 | We will select the DisplaceGeo again.
| | 05:38 | So, the Transformation node will
allow us to make transformations to the
| | 05:41 | original image before it goes
into the displacement input.
| | 05:45 | And that can get us some
interesting effects, like this.
| | 05:49 | I could rotate the image.
| | 05:52 | I can scale the image up or down, and even
translate the image, x or y. So, these allow
| | 06:03 | you some additional
adjustments for modeling your terrains.
| | Collapse this transcript |
| The ProcGeo node| 00:01 | 3D geometry can also be displaced using
turbulence. For that, we use the ProcGeo node.
| | 00:07 | To see how that works, first we'll need a card.
| | 00:10 | We'll go up to the 3D tab > Geometry, get
a Card, a little more Viewer space, please.
| | 00:18 | Switch the Viewer to 3D
and admire our card. Okay.
| | 00:24 | For this demo, we are going to want to
lay the card down flat on the ground.
| | 00:29 | You remember how to do that. In the
Card Settings, the Orientation wants to be
| | 00:33 | set to ZX. The card lays down.
| | 00:37 | Also, we are going to want more
precision in our geometry. Instead of the rows
| | 00:40 | and columns being 8,
| | 00:41 | let's do to the 100, tab, 100
10,000 polygon card. Okay?
| | 00:49 | Now, we are ready to add the ProcGeo node.
| | 00:54 | Select the card, come up to the 3D tab,
go to Modify, and oddly enough, you
| | 01:00 | want ProceduralNoise.
| | 01:03 | There's a little glitch in the GUI.
| | 01:06 | When you select ProceduralNoise,
you get the ProGeo node, okay?
| | 01:11 | So, that's for Procedural Geometry.
| | 01:17 | The first thing you'll notice is
that our card is not very interesting.
| | 01:22 | It's being deformed in a funny way.
What's happened is the ProcGeo node
| | 01:27 | orientation for the deformations is
in Z, which is along this axis here.
| | 01:32 | So, we want to change the
orientation to be Y. There we go.
| | 01:37 | That's a little more like it.
| | 01:38 | We could build some terrain with this.
| | 01:41 | Now the turbulence
deformations are all animated.
| | 01:44 | I'll hit Play on the
Timeline and look at that, sweet!
| | 01:51 | Up here, is the method used to create the noise.
| | 01:53 | We could choose Turbulence or fractal
Brownian motion, which is a second type of
| | 01:59 | a noise algorithm, but
we'll put it back to Turbulence.
| | 02:06 | Down here is a Speed slider, so we can
adjust the speed of the noise, faster,
| | 02:10 | of course, and slower.
| | 02:12 | We'll stop the playback to take
a look at some other settings.
| | 02:18 | Let's get a better view here.
| | 02:23 | The Gain increases the
amplitude of the displacements.
| | 02:27 | The Lacunarity is actually a detail enhancement.
| | 02:36 | This increases the amount of detail
and decreases the amount of detail.
| | 02:42 | Octaves is another control
over the amount of detail.
| | 02:45 | If I lower the Octaves, it gets smoother.
| | 02:48 | Let me move in a little bit here.
| | 02:50 | If I increase the Octaves, it gets a
little more detail, up to a certain point,
| | 02:55 | and beyond that, increasing
the Octaves doesn't help.
| | 02:58 | So, it's a balance
between Octaves and Lacunarity.
| | 03:01 | To show you the X Size and X Offset
features, I am going to lower the amount of
| | 03:05 | detail by lowering the Octaves down to,
about like that. Yeah, nice and smooth.
| | 03:11 | Okay, the X Size is actually a scale factor.
| | 03:15 | This scales the turbulence pattern in X.
So, we can scale it up, which makes it
| | 03:22 | large, and then scale it down,
which gives it lots of fine detail.
| | 03:27 | Okay, put that back.
| | 03:33 | The X Offset slides it left and right,
but really, you need some precision,
| | 03:38 | so I am going to type .001 and now, I
can show you the offset in X. So you see
| | 03:45 | it's actually slipping
the pattern left and right.
| | 03:52 | And, of course, the Y Size and Y Offset work
in the same way, only in the other direction.
| | 03:58 | So, what can you use this for?
| | 04:00 | You can use it to create waves, clouds, or in a
static form, you can use it to build terrain.
| | 04:06 | Now just for fun, lets see how the
ProcGeo node works when you have a
| | 04:12 | three-dimensional object.
| | 04:13 | Let's go get that head from Lesson_06.
| | 04:16 | So, we are going to delete these, go up
to the 3D tab, go to Geometry > ReadGeo
| | 04:26 | and browse our way to the NUKE
WORKSHOP > Lesson_06_Media > the head.obj.
| | 04:32 | Okay, what have we here?
| | 04:36 | Well, I will hit the F key to reframe and then
we'll orbit around and pull back a little bit.
| | 04:42 | All right. So, here's a real
3D object, instead of just a flat card.
| | 04:46 | So, let's see what happens when
we hit that, with the ProcGeo node.
| | 04:50 | Select the head, 3D tab > Modify >
ProceduralNoise. Whoa! Look at this.
| | 04:58 | Okay, remember, the default
orientation is in Z. So, the ProcGeo node has
| | 05:07 | deformed it only in the Z axis.
| | 05:09 | In fact, if I play it, you can see that.
| | 05:11 | If we look at it around the front,
since its deforming front to rear now, you
| | 05:18 | don't hardly see anything.
| | 05:20 | You may want to, instead, deform it in Y -
well, that looks like fun - or you could
| | 05:30 | say deform it in all three dimensions.
| | 05:33 | Okay, it might be fun to turn that Gain
down a little bit and we could turn up
| | 05:40 | the speed a little bit. And there you go.
| | 05:43 | That'll that give the kids nightmares.
| | 05:46 | Okay I'll stop this and we'll take
a look at the Tri-linear node next.
| | Collapse this transcript |
| The Trilinear node| 00:01 | Sometimes you need to make little
changes in the geometry, like squeezing it in X
| | 00:05 | or stretching it in Y. For that, you
will want to use the Trilinear node.
| | 00:10 | The Trilinear node puts a box around
geometry, then you can deform the box and
| | 00:15 | it will deform the geometry inside.
| | 00:18 | To see it, we are going to need some geometry.
| | 00:21 | So, let's go get the head again from Lesson_06.
| | 00:24 | We'll go to the 3D tab > Geometry >
ReadGeo, Browse to the NUKE WORKSHOP/
| | 00:35 | Lesson_06_Media/head.obj.
| | 00:37 | We'll open that, a little more
Viewer space, switch the Viewer to 3D and
| | 00:47 | pull out and look around.
| | 00:50 | Before we get the Trilinear node, be
sure to click in the Node Graph to
| | 00:55 | deselect the ReadGeo node.
| | 00:56 | You'll see why in just a moment.
| | 00:58 | We'll go 3D tab, go to
Modify and select Trilinear.
| | 01:07 | Now the Trilinear node puts
this bounding box in the scene.
| | 01:10 | The problem is, as soon as you hook the
geometry to it, it's going to squish the
| | 01:15 | geometry down into the box, like this.
| | 01:18 | This is usually not what you want.
| | 01:20 | To tell it not to do that, come
up and set reset shape to input.
| | 01:26 | And now the bounding box fits your geometry.
| | 01:30 | To adjust the box, all you do is pull
on the points, so we can come over here
| | 01:34 | and just pull on one of the points or
you can select several points and move
| | 01:40 | them as a group, like this.
| | 01:43 | You can also come over to the
parameters and adjust them individually,
| | 01:48 | like that. Just like a bicubic's, the
Trilinear bounding box can be keyframe animated.
| | 01:56 | Our playhead is on frame 1, check here.
| | 02:00 | We can come up here and click on Set key.
| | 02:03 | So, we now have a keyframe on frame 1.
| | 02:06 | We'll then drag the playhead to frame 50,
and give it a different keyframe, back there.
| | 02:17 | All right. And just like
the bicubic's, you can copy keyframes.
| | 02:21 | So, I can go back to frame 1, say Copy,
then come out to frame 100 and click on Paste.
| | 02:33 | Now I've copied the exact shape from
frame 1 into frame 100 and now we can play
| | 02:39 | our little animation.
| | 02:47 | We'll stop that. So, what's
the Trilinear node used for?
| | 02:51 | If you place some geometry into
a scene and it doesn't quite fit,
| | 02:55 | you can drop the Trilinear node on it and
tuck it in and adjust it to fit just right.
| | 03:01 | There are some other deformations
over here, in the 3D Modify tab -
| | 03:05 | they would be the CrosstalkGeo,
LookupGeo, LogGeo and RadialDistort - but these
| | 03:13 | deformers are for special purposes and
therefore have a very limited use in the real world.
| | 03:17 | I'll clear that.
| | 03:21 | In this movie, we looked at several
different ways to deform the geometry.
| | 03:26 | Using the DisplaceGeo node, we saw
how you can use an image to displace the
| | 03:30 | geometry in Y or any direction you want.
| | 03:33 | With the ProcGeo node, we saw how
we could use turbulence equations to
| | 03:37 | deform geometry and with the
Trilinear node, we saw how to put the geometry
| | 03:42 | inside a cage then deform the cage to
make fine adjustments on the geometry
| | 03:46 | size and shape.
| | Collapse this transcript |
| The Diffuse node| 00:01 | For compositors not familiar with 3D, the
subject of Shaders can be very confusing.
| | 00:06 | Shaders apply material
attributes to objects, to geometry.
| | 00:11 | And they can be emission shaders,
diffuse and specular, and all of these add
| | 00:15 | to the photorealistic lighting of an object.
| | 00:19 | To see how they work, let's load a script.
| | 00:21 | We'll open up the Script browser, go to
NUKE WORKSHOP/Lesson_07_Media and load
| | 00:28 | the materials Nuke script.
| | 00:31 | We'll scoot this up here and make the Viewer
a little larger, and switch to our 3D view.
| | 00:41 | The scene we are working with has one
simple piece of geometry, a sphere, plus a
| | 00:45 | a camera and a light.
| | 00:46 | We'll start by locking the viewer to the
camera and we'll move in a little bit here.
| | 00:52 | Now, watch what happens to the
geometry, if we turn the light on and off.
| | 00:58 | The geometry switches to this
flat self-illumination model.
| | 01:02 | With the light on, it gets a shaded effect.
| | 01:05 | We'll turn the light off and switch
over to the CheckerBoard texture map.
| | 01:11 | With the texture map attached to the
geometry, the geometry displays it in
| | 01:15 | what's called the emission light model,
that is to say its radiating light.
| | 01:19 | It's not lit by anything.
| | 01:21 | It is a self-illuminated object.
| | 01:23 | So, there you go without the
texture map, and with a texture map.
| | 01:29 | We'll turn the light back on
and switch over to the 2D view.
| | 01:35 | The 2D and 3D views are not identical,
in the terms of lighting, because the 3D
| | 01:40 | view is using Hardware renders,
while the 2D view is a Software render.
| | 01:45 | Of course, the 2D view is what you're
getting to get when you render to disk.
| | 01:50 | So, in the 2D view, let's see what happens
| | 01:52 | if we turn the light on and off.
| | 01:55 | Okay, when the light goes off, then the
lighting model switches to the emission
| | 01:59 | light, where it's the absolute value of
the texture map being portrayed, wrapped
| | 02:03 | around the geometry.
| | 02:05 | Turn the light back on and we
get the shaded lighting model.
| | 02:09 | However, if we go up to the Sphere and
disconnect the texture map, the geometry
| | 02:14 | goes out this and this is
not true on the 3D side -
| | 02:17 | there we see the solid geometry -
but on the 2D side, nothing.
| | 02:22 | The reason is that geometry must have
some kind of surface materials in order
| | 02:27 | to be lit by a light.
| | 02:28 | That could be a texture map or a shader.
| | 02:32 | Let's add a diffuse shader and see how it works.
| | 02:34 | We'll come up to the 3D tab, come down
to the Shader pop-up and select Diffuse.
| | 02:42 | Diffuse is one of the simpler shaders
and we'll use this as a sort of a training
| | 02:46 | model before we switched to the
Phong shader, the real big one.
| | 02:51 | So, the diffuse shader is adding a
diffuse lighting model to the sphere.
| | 02:56 | A diffuse lighting model means
that the surface is covered with a
| | 02:58 | nonreflective, non-shiny
surface, sort of like velvet.
| | 03:02 | So, this would represent
sort of a light gray velvet.
| | 03:05 | Again, if we connect the sphere to the
original CheckerBoard, that's like we
| | 03:10 | have a painted surface.
| | 03:12 | Back to our Diffuse.
| | 03:15 | With the Diffuse shader attached,
we can adjust how much diffuse light
| | 03:19 | is bouncing off of it.
| | 03:21 | Here's the adjustment, the white value.
| | 03:23 | We can slide it up or down and this
would be like having the geometry covered
| | 03:29 | with a very white velvet, a
medium gray, a dark gray velvet.
| | 03:34 | Of course, the lights interact
with the material properties.
| | 03:38 | I can change the intensity of the
light up and the material gets brighter.
| | 03:42 | We'll put that back to default
and we'll close the Light panel.
| | 03:47 | So, the Diffuse shader has added the
material property of Diffuse lighting,
| | 03:53 | but let's see what happens when
we attach the CheckerBoard to it.
| | 03:59 | Instead of seeing the diffuse surface
of the geometry, we're seeing the diffuse
| | 04:03 | surface of the CheckerBoard and, of
course, we can adjust the brightness of that
| | 04:07 | up and down, as well.
| | 04:11 | So, if you attach an image to the
map input, then that image will get the
| | 04:15 | diffuse lighting model
wrapped around the geometry.
| | 04:18 | Now let's disconnect the CheckerBoard
from the map input and put it over here to
| | 04:22 | the unmarked arrow to see what happens.
| | 04:25 | What's happening now is the
CheckerBoard is being laid on top of the geometry
| | 04:29 | with that emission model,
| | 04:31 | in other words, the self-illumination,
and then on top of that, the diffuse, the
| | 04:36 | geometry diffuse is being added to it here.
| | 04:39 | This would be easier to see
| | 04:41 | if I take the CheckerBoard and add
a Grade node, and I want to make the
| | 04:45 | CheckerBoard much darker. There.
| | 04:49 | Now we can see, if I turn the
Diffuse property all the way down, remember
| | 04:53 | there's nothing hooked to the map input,
| | 04:55 | so we are now seeing the geometry
diffuse, just a smooth, white sphere is being
| | 05:01 | added in on top of the texture map.
| | 05:06 | However, if I connect the map
input to the CheckerBoard, I now have a
| | 05:11 | diffuse lighting model of the CheckerBoard
being added to that base model of the emission.
| | 05:17 | I can now dial the diffuse up and
down and the CheckerBoard pattern gets
| | 05:21 | brighter and darker.
| | 05:25 | Again, without it, you are just
getting white diffuse geometry.
| | 05:29 | If the light is turned off, then we
lose the diffuse lighting and we just see
| | 05:33 | the basic emission lighting.
| | 05:36 | Again, if I turn off the Grade no |
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