1. Introduction| Welcome | What is NukeX?| 00:01 | So what exactly is NukeX?
| | 00:04 | NukeX is an enhanced version of Nuke 6.
| | 00:07 | It contains a Camera Tracker and all
the support nodes you need to do camera
| | 00:11 | tracking and integrate
3D into your compositing.
| | 00:15 | The NukeX features require an
additional license and it's assumed that only a
| | 00:19 | percentage of the seats in the
studio would actually be a NukeX seat.
| | 00:23 | One thing to keep in mind is that all of the
NukeX nodes that we see will be seen in Nuke 6.
| | 00:28 | You can even drop them into your flow graph.
| | 00:31 | But they will be inactive
when you try to use them.
| | 00:33 | You get a message telling you
that you need a NukeX license.
| | 00:37 | So let's take a look at
the Camera Tracker first.
| | 00:40 | The Camera Tracker node is a fast,
easy, camera tracking node that does
| | 00:44 | bidirectional camera tracking.
| | 00:48 | When you finish with your camera track,
you can then solve for the camera and then
| | 00:52 | create your 3D scene.
| | 00:57 | The output on the Camera Tracker
is a complete camera path, lens
| | 01:01 | information, and a point cloud.
| | 01:04 | You can use this point
cloud to line up 3D geometry.
| | 01:12 | Here you can see the camera's view of
the point cloud, which you use to line
| | 01:15 | up your 3D geometry.
| | 01:19 | Next, let's take a look at the Lens Distortion.
| | 01:24 | The Lens Distortion node analyzes a
clip and removes the lens distortion to
| | 01:28 | create a flattened version that's ideal for
2D tracking, and for lining up 3D geometry.
| | 01:35 | It has three modes.
| | 01:39 | The Image Analysis mode will actually
study the clip and produce the lens
| | 01:43 | distortion information.
| | 01:46 | The Grid Analysis is used if you
happen to have a camera chart that was
| | 01:49 | photographed by the lens.
| | 01:51 | With the Line Analysis mode, you can
draw lines on the screen, which the node
| | 01:55 | then uses to figure out
what the lens distortion is.
| | 01:59 | The next NukeX feature is the Depth Generator.
| | 02:02 | We'll see that over here.
| | 02:06 | The Depth Generator node analyzes a clip
and creates a depth map of the scene.
| | 02:11 | You can see that here in the alpha
channel, which is rather like a depth Z
| | 02:15 | map from a 3D render.
| | 02:17 | It uses camera data that was
generated from the Camera Tracker node.
| | 02:22 | You can use this to do like depth
hazes and do 3D camera stabilization.
| | 02:26 | Next are the FurnaceCore plug-ins.
| | 02:30 | The FurnaceCore plug-ins are a set of
plug-ins that are found over here on the tool tab.
| | 02:34 | F_Align takes two different clips that
were photographed from slightly different
| | 02:39 | positions and aligns them
together into a single clip.
| | 02:42 | F_DeFlicker2 does a deflicker operation,
in case you have for example flickering
| | 02:48 | HMI lights, or a shutter that's out of time.
| | 02:50 | F_DeGrain removes the grain from the
single still image that uses spatial
| | 02:57 | frequency analysis and does
not use any temporal analysis.
| | 03:01 | That's what the F_DeNoise is about.
| | 03:03 | F_DeNoise uses temporal or forward
and backward frame comparisons to remove
| | 03:09 | grain and noise from film and
video clips using time as a basis.
| | 03:14 | So F_DeGrain is for a single still
image, and F_DeNoise is for a moving clip.
| | 03:19 | F_Kronos is the re-timer.
| | 03:22 | It uses optical flow analysis in order to
create very smooth speed changes on shots.
| | 03:29 | F_MatchGrade is designed to make one clip
match another clip by adjusting its histogram.
| | 03:35 | F_MotionBlur will add motion blur to a 2D clip
| | 03:40 | that doesn't have any by
analyzing the motion from frame to frame.
| | 03:43 | F_ReGrain is a very powerful re-graining tool.
| | 03:48 | You can sample grain structure and have
it match it, or dial in the parameters
| | 03:52 | yourself, or give it a sample template
| | 03:56 | that it will then emboss upon your clip.
| | 03:58 | F_RigRemoval is designed to make it
very quick and easy to remove rig elements
| | 04:04 | like boom mikes or motion
control alarms from a moving clip.
| | 04:08 | The F_Steadiness plug-in uses motion
analysis techniques to allow you to either
| | 04:14 | smooth out or completely
remove any camera motion.
| | 04:18 | Several of the FurnaceCore plug-
ins use motion vector analysis.
| | 04:22 | The Vector Generator node allows you
to calculate the motion vectors once.
| | 04:27 | Then they can be used by several nodes.
| | 04:29 | And that'll save you a lot of processing time.
| | 04:31 | Of course, F_WireRemoval uses temporal
techniques and even special techniques
| | 04:37 | to remove wires out of a clip.
| | 04:39 | So NukeX expands the capability of
Nuke 6 by adding camera tracking and all the
| | 04:44 | support you need to go with it.
| | 04:46 | But don't forget, even though the
NukeX nodes are visible and available,
| | 04:51 | they won't operate unless you get
the additional NukeX license.
| | 04:55 | Next up, let's take a look at
Nuke's exciting new RotoPaint node.
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| Using the exercise files| 00:00 | Most of the exercise files needed for
this Nuke 6 New Features course can be
| | 00:05 | found in the Nuke 5 Exercise Files, but
there are several new additions here in
| | 00:10 | the Nuke 6 Exercise Files.
| | 00:13 | For the RotoPaint node, there's a new
folder named RevealClip, which is needed
| | 00:17 | for the Reveal tool.
| | 00:20 | For the Keylight node, there is
another folder named Keylight_Media that
| | 00:24 | contains all of the media use
for this rather extensive tutorial.
| | 00:28 | The Nuke scripts for this Keylight
tutorial are located here in the Keylight
| | 00:32 | Nuke Scripts folder.
| | 00:33 | You will also find an updated version
of my keyboard shortcuts PDF file with
| | 00:40 | Windows and Mac versions, plus an
updated tool tabs PDF file that lists all of
| | 00:44 | the nodes in Nuke 6
including the new nodes for NukeX.
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|
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2. The RotoPaint NodeLearning the interface| 00:00 | The RotoPaint node is unique and it allows you
to combine rotos and paint, all in one node.
| | 00:07 | Let's take a quick look at that,
and you invoke it with a QuicKey from
| | 00:11 | the keyboard. P right.
| | 00:14 | You'll get up to the Viewer,
by typing 1 on the keyboard.
| | 00:16 | So I can draw a Roto shape, there's my
shape, and now I can immediately paint.
| | 00:23 | So I'm going to select some paint, and
paint on it, plus I can go get the Eraser tool
| | 00:30 | and even erase my
Roto shape and erase my paint.
| | 00:38 | So that's the big innovation with the
RotoPaint node is the ability to combine
| | 00:42 | both roto and paint in one node.
| | 00:45 | It also allows you to do multiple shapes.
| | 00:48 | Put a shape here, close that, do
another shape over here, close that, and
| | 00:55 | another shape over here, there.
| | 00:59 | So multiple shapes in one node.
| | 01:02 | So let's just take a quick
overview of the way the thing is laid out.
| | 01:07 | Over here on the left are the side tool tabs
and this is where you'll select your tools.
| | 01:13 | So this tool here will be your Bezier tool.
| | 01:15 | You have a Bezier, a B-Spline
and of course, you have Ellipse and
| | 01:18 | Rectangles already defined.
| | 01:20 | Here is the Brush or Paint
tool and the Eraser tool.
| | 01:25 | Here's the Clone and Reveal, here's
Blur, Sharpen and Smear, and this has got
| | 01:32 | a Dodge and a Burn.
| | 01:35 | This is the Select tool that allows
you to select either shapes or strokes or
| | 01:39 | even Control Points.
| | 01:41 | Down here, this tool is for adding or
inserting or editing Control Points but
| | 01:46 | all of these have QuickKeys and you're
going to want to learn the QuickKeys and
| | 01:49 | not bother with this menu.
| | 01:51 | The Top toolbar up here changes context
depending on which tool you've selected.
| | 01:56 | I select a shape and I get these options up here
and if I switch to a Brush, I'll get these.
| | 02:02 | Now these options up here allow you to
preset the properties of the shape or the stroke.
| | 02:07 | For example, I'll go and set the color
of this Paint Stroke and then I'll come
| | 02:14 | along and paint my color.
| | 02:15 | Of course, you can edit any of these
attributes after the fact, but the top
| | 02:20 | toolbar is designed to allow you to
preset any of these parameters before you use it.
| | 02:25 | So for example, I could take the Hardness
to one and now I have a very hard paintbrush.
| | 02:31 | Over here on the right, of course is
the Property panel for the RotoPaint node
| | 02:35 | and it's divided into three main sections.
| | 02:39 | This top section up here is a familiar
from the old Bezier node and it controls
| | 02:43 | the output for which channels you're
going to be putting the mask into, are you
| | 02:46 | going to be doing premultiply or not,
and of course selecting the format or the
| | 02:51 | size for your Roto Shapes.
| | 02:54 | This middle section here is the
list of all your shapes and strokes.
| | 02:59 | One of the main things you do with the
list is you change the order of events.
| | 03:03 | So now I put this shape on top of the strokes.
| | 03:06 | You also can rename them, you have
visibility controls, and some of the other
| | 03:09 | editable attributes are
displayed in the list as well.
| | 03:12 | We'll come back and take a close
look at all of these of course.
| | 03:16 | Down here at the bottom are
the tabs. There are five tabs.
| | 03:20 | This first tab, Common, is of course
common to both shapes and strokes.
| | 03:25 | Whichever shape or stroke is
selected is being hooked to the Common tab.
| | 03:29 | You can tell, you can see this color tab
here which is my stroke but if I switch
| | 03:34 | to the shape, that turns white.
| | 03:36 | So the current selected shape or
stroke is hooked to this Common tab.
| | 03:40 | For shapes, there are two
more tabs, Transform and Shape.
| | 03:46 | Strokes use the last
two tabs, Stroke and Clone.
| | 03:51 | So we'll come back to these
later and take a much closer look.
| | 03:54 | Down here in this section is where we
have the Lifetime control that is the
| | 03:58 | duration for all shapes and strokes,
whether it's the full length of the shot or
| | 04:01 | just one frame or whatever.
| | 04:03 | That's all down right here.
| | 04:06 | So there's much commonality
between the shapes and the paint dtrokes.
| | 04:11 | If you close the Property panel, then
the top and the side toolbars disappear.
| | 04:16 | Open the Property panel and they come back.
| | 04:18 | I'm going to delete the RotoPaint node
in order to show you the old Bezier node.
| | 04:24 | The old Bezier node is still in Nuke.
In case you have any legacy scripts you
| | 04:28 | want to bring in, they need to
be able to call up that old node.
| | 04:32 | However, if you ever get nostalgic for
the old Bezier node or you just want to
| | 04:36 | draw a real quick shape and don't want
to fire up the whole RotoPaint node, you
| | 04:39 | can invoke the old Bezier node very simply.
| | 04:42 | Cursor in the node graph, on the
keyboard type X, and you'll get this dialog box.
| | 04:48 | Make sure this TCL button
is selected, not the Python.
| | 04:52 | Then type the name of
Bezier, BEZIER, and say OK.
| | 04:58 | And now, you'll get the old
Bezier node that we all know and love.
| | 05:01 | There you go, edit the points,
feathered edge, and transformation controls.
| | 05:10 | Now let's take a closer look at how to
draw shapes in the new RotoPaint node.
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| Drawing shapes| 00:01 | I've dropped in a nice fresh RotoPaint node,
so we can take a look at how we draw shapes.
| | 00:06 | To draw a shape, we come up
here to the Shape pop-up list.
| | 00:09 | Now right mouse click will show you, you
have Bezier, B-Spline, Ellipse, and Rectangle.
| | 00:15 | Let's start with the Bezier.
| | 00:18 | Just click and drag, click and drag,
click and drag, click and drag.
| | 00:22 | No modifier keys like the old Bezier node.
| | 00:26 | To close the shape, you can put the cursor
on top of the first point you dropped down.
| | 00:29 | You see that little O pop up, or
you can just hit the Return key and
| | 00:35 | it'll close it for you.
| | 00:38 | We'll select another Bezier and if we
click without dragging, we'll get a nice
| | 00:43 | cusp or square corner.
| | 00:44 | Again, Return to close the shape.
| | 00:46 | Now if we want to draw a B-Spline, we go to the
Shape pop-up and we select the B-Spline tool.
| | 00:53 | Then again we'll click, click,
click, click, click, and Return.
| | 00:59 | Now we have a B-Spline.
| | 01:02 | You can also draw circles and squares.
| | 01:04 | So we'll go over to the Shapes pop-
up, right mouse, and say Ellipse tool.
| | 01:10 | Now if I click and drag the Ellipse tool,
I could change the shape any way I want.
| | 01:15 | If however, I'll select that tool again,
you hold down the Shift key first, then
| | 01:21 | click and drag, you'll get a constrained circle.
| | 01:24 | Let's try the Rectangle.
| | 01:29 | Again, if you just click and drag,
you can change the shape of the rectangle.
| | 01:34 | But select another rectangle.
| | 01:36 | If you hold down the Shift key
first, you get a perfect square.
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| Editing shapes| 00:01 | Okay, let's delete all these.
| | 00:02 | I'm just going to draw a big selection
square around them and hit the Delete
| | 00:05 | key on the keyboard.
| | 00:07 | Let's take a look at editing shapes.
| | 00:09 | Let's go and get a new Bezier.
| | 00:11 | We'll click and drag, and Return to close.
| | 00:14 | All right, we want to
adjust the points of the shape.
| | 00:18 | To make this easier to see, I'm going to
turn off the RGBA and set the output to none.
| | 00:22 | So we can just look at the spline.
| | 00:24 | So now we can move the
points and see how they look.
| | 00:27 | If you want to insert points, Alt+Command
and click on the line to insert points.
| | 00:35 | To delete points, select
the point and hit Delete.
| | 00:38 | Select the point and hit Delete.
| | 00:41 | If you draw a box around several and
hit Delete, you'll delete several points.
| | 00:47 | To adjust the tension, select the point,
drag the tension arrow, and you will
| | 00:52 | adjust the tension on that one side.
| | 00:55 | Hold down the Shift key to adjust
the tension equally on both sides.
| | 01:00 | Move the handles to adjust the slope,
and you hold down the Command key to break
| | 01:05 | the continuity at any point.
| | 01:07 | If you want to restore the
continuity, you can select that point,
| | 01:11 | right mouse pop-up, and say smooth.
| | 01:14 | You can also select one or more
points, cursor inside the bounding box,
| | 01:19 | right mouse pop-up and say cusp,
and that will get you nice big square
| | 01:23 | corners on everything.
| | 01:24 | Again, if you want to put them back,
just select those points, and choose smooth
| | 01:29 | and you get back to your Bezier splines.
| | 01:33 | A really nice feature of the new
RotoPaint node is the transform handle box.
| | 01:37 | I'm going to select several
points here, and we get this rectangle.
| | 01:42 | Now you see the cursor is shaped as a plus.
| | 01:45 | That means I'm ready to move
translate X and Y. If I move out here to the
| | 01:50 | outside corner, I get the little arc.
| | 01:52 | That means we're ready to rotate.
| | 01:54 | If I put it on the edge,
I get that horizontal arrow.
| | 01:57 | I'm ready to scale.
| | 02:00 | By the way, if you hold down the Alt key,
it will scale towards one edge or the other.
| | 02:08 | With the cursor on a corner like this,
you'll get the diagonal arrows to do a
| | 02:12 | uniform or constrained scale.
| | 02:14 | Put your cursor on the edge, and hold down the
Shift key, you can do a skew. We'll undo that.
| | 02:23 | Click off to the side to deselect.
| | 02:28 | So let's talk about
adding a feather to the edge.
| | 02:30 | To do that, we're going to set the output
back to RGB so we can see what we're doing.
| | 02:34 | We'll select our spline, hold down the
Command key and drag out an edge, and
| | 02:40 | there is the feather.
| | 02:42 | Now the behavior is if you move the
inner point, the feather point moves with it.
| | 02:47 | However, if you move the
feather point, it moves independently.
| | 02:52 | Now if you want to leave the feather
point where it is and still move the inner
| | 02:55 | point, hold down the Command key and
now you can move the inner point and it
| | 03:00 | won't move the feather with it.
| | 03:03 | To collapse the feather for one or more
points, select the points, right mouse
| | 03:07 | pop-up and say, reset feather.
| | 03:10 | The QuickKey of course is Shift+E.
There, I've reset the feather.
| | 03:14 | If you select the entire shape, you'll
get the transform jack right here, which
| | 03:20 | is exactly like the one
from the old Bezier node.
| | 03:23 | So we can do the rotate thing.
| | 03:25 | One nice thing they've added is to see the
cursor shape looks like an X. I move it inside,
| | 03:30 | it looks like a plus.
| | 03:32 | When you see the X, you
know you're ready to scale.
| | 03:36 | When you see the plus, you
know you're ready for Translate.
| | 03:39 | Of course, we have the scale in X only, and
the scale in Y only, and the skew as before.
| | 03:49 | Okay, I'll delete the shape simply by
selecting the shape and then typing the Delete key.
| | 03:54 | To take a look at how you adjust
the B-Spline, it has a little bit of a
| | 03:57 | different characteristic.
| | 03:58 | So we will come back to our Shapes
pop-up, select the B-Spline tool, click,
| | 04:04 | click, click, click, click, and Return to Close.
| | 04:08 | What I wanted to show you is how to
adjust the tension on each of these control
| | 04:11 | points, a little unusual.
| | 04:13 | Hold down the Shift and the Command
key, click and drag horizontally only.
| | 04:18 | Okay, Shift+Command+Horizontal,
not vertical, not diagonal.
| | 04:25 | Okay, to pull out a feather. Same as
the Bezier, Command, click and drag.
| | 04:31 | Of course, if you want to adjust the
tension of the feather different from the
| | 04:35 | tension of the inner line,
you then select the feather point,
| | 04:39 | Shift+Command+Horizontal, click and drag.
| | 04:45 | Again, to undo the feather for however
many points you want, select the points,
| | 04:49 | right mouse pop-up, reset feather.
| | 04:51 | The QuicKey is Shift+E. Now that we know
how to draw and edit shapes, in our next
| | 04:58 | segment we'll take a look at animating shapes.
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| Keyframe animation| 00:01 | I've loaded a new RotoPaint node, so
we can take a look at animating shapes
| | 00:04 | using keyframe animation.
| | 00:07 | We'll go up to our Bezier, draw
a little shape, Return to close.
| | 00:15 | Don't forget you have to have the
autokey on or you're not going to get keyframes.
| | 00:18 | We'll move the playhead out to frame 50.
| | 00:25 | I'll move the shape up here.
| | 00:27 | Now the RotoPaint node keeps the
control points, the transformations, and the
| | 00:33 | shape attributes as three separate keyframes.
| | 00:37 | Right now, I've just put a
keyframe for Transform only.
| | 00:41 | But if I move the control points, I've
now added a keyframe for the shape as well.
| | 00:47 | When I say shape, I mean the control
points that define the outline of the shape.
| | 00:52 | We'll move the playhead to frame 100.
| | 00:57 | Again, I now have a keyframe
for the transformation only.
| | 01:02 | If I select all the points, I can
now change the shape of my shape.
| | 01:08 | Now I have keyframes on the first,
fifth and hundredth frame for both
| | 01:15 | transform and shape.
| | 01:18 | We can also delete shapes separate
from transform, separate from attributes.
| | 01:22 | You'll notice I don't have
any keyframes on the timeline.
| | 01:25 | You won't get them unless you
select the shape that has keyframes.
| | 01:28 | I'll slide the playhead out
to 50 where I have a keyframe.
| | 01:33 | I'll do the right mouse pop-up.
| | 01:36 | Now you see I got the pop-up for the viewer.
| | 01:39 | If I put the mouse over here, do a
right mouse pop-up, even if I'm inside the
| | 01:42 | bounding box or on the shape body,
I have to have the cursor on the spline line
| | 01:50 | in order to get the right
mouse pop-up for the shape.
| | 01:55 | So we'll go down to Delete key.
| | 01:58 | I'll say I want to delete the key
for just the shape. Select that.
| | 02:03 | You see my shape changed shape, but I
still have a keyframe for the transform.
| | 02:09 | We'll go back to frame 50.
| | 02:12 | Now I'll say delete the key for the transform.
| | 02:16 | By the way, I could have selected all, and
it would've killed the keyframe for the
| | 02:19 | shape, the transform and the attributes.
| | 02:22 | So we'll do transform now.
| | 02:24 | Now I have no keyframe for
transform or the shape. I play the shot.
| | 02:29 | I now have only keyframes at 1
and 100 for the shape and transform.
| | 02:36 | The little keyframe mark here at frame
50 is for the attributes, which I haven't
| | 02:40 | really animated, but there
is still a keyframe there.
| | 02:43 | We can also set a keyframe for
just the shape anywhere we want.
| | 02:47 | So we roll the playhead back to frame
50, and I'll do the right mouse pop-up,
| | 02:52 | and I'll say set key for just the shape.
| | 02:57 | Then I'll animate the
shape. Give it a difference.
| | 03:01 | You can see the shape is changing
shape, but the transform has no keyframe.
| | 03:05 | We'll go back to that same keyframe, right
mouse pop-up, say set a key for the transform.
| | 03:12 | Now I've introduced a transform keyframe.
| | 03:16 | I now have three keyframes for
both the shape and the transform.
| | 03:20 | To delete a keyframe, simply place the
playhead on that keyframe and do your
| | 03:26 | right mouse pop-up and say delete key.
| | 03:28 | If you say all, it'll delete the shape,
the transform, and the attributes.
| | 03:36 | We can also copy points and
shapes between frames like this.
| | 03:41 | We'll go to a frame here.
| | 03:45 | If I have some points selected.
| | 03:49 | If I do a right mouse pop-up and I say
copy, the choice will be point: values.
| | 03:56 | I'll deselect.
| | 03:59 | If I just have the shape selected, the
right mouse pop-up copy will say shape: values.
| | 04:06 | So the point values would be used if
you wanted to copy one or two or three
| | 04:10 | control points between keyframes.
| | 04:12 | The shape values will copy the
entire shape, again not the transform.
| | 04:17 | So I'll say copy > shape values.
| | 04:19 | I'll then move to another
frame, and right mouse pop-up.
| | 04:26 | I'll say paste > shape values.
| | 04:29 | Now I've added a keyframe here that
keeps the shape exactly the same for the
| | 04:34 | whole last half of the shot.
| | 04:37 | But I still have my other shape
keyframe at the beginning of the shot.
| | 04:42 | You can also copy shape or control
point values between two different shapes.
| | 04:49 | So let's get a new shape.
| | 04:50 | I'm going to add another Bezier right over here.
| | 04:54 | Go back to my first one and I'll
say copy, this time shape animation.
| | 05:01 | That means I'm going to copy the
control points for the shape for the whole
| | 05:05 | length of the shot, not just one frame.
| | 05:07 | So I'll click on that.
| | 05:10 | I'll come over to this guy, and
do a right mouse pop-up, and say
| | 05:14 | paste>shape animation.
| | 05:17 | Now this new shape will have the same
control point shape as the first shape.
| | 05:24 | We can scrub through it like this.
| | 05:25 | We can see that they're both
animating their shapes in the same exact way.
| | 05:31 | I'll delete the new shape here, and show you
how to delete all the animation in a shape.
| | 05:37 | Select your shape.
| | 05:39 | Go to the frame that you would like to freeze.
| | 05:41 | So let's say frame 20 has got the shape I
want to keep over the whole length of the shot.
| | 05:47 | Then right mouse pop-up,
and say no animation > all.
| | 05:52 | Now the shape is frozen over
the whole length of the shot.
| | 05:56 | Next, let's take a look at the
Property panels and those three tabs that are
| | 06:00 | used for shapes Common, Transform, and Shape.
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| Property panel tabs| 00:01 | Now we will take a look at the
three tabs here in the Property panel.
| | 00:04 | Common, Transform, and Shape and
how they are used with a shape.
| | 00:09 | These tutorials were recorded using
Nuke 6.0, but the Foundry has recently
| | 00:14 | released Nuke 6.1 and they have made
some substantial changes in the location of
| | 00:19 | the tabs in the RotoPaint node.
| | 00:20 | So let's take a quick look at how they
relate out the RotoPaint node in 6.1.
| | 00:25 | 6.0, you had two tabs here at the top, but
in 6.1 you have seven tabs across the top.
| | 00:35 | Basically, what they have done is they
took these five tabs here from 6.0 and
| | 00:39 | simply moved them up there.
| | 00:40 | We also have a few other minor
rearrangements we are going to take a look at.
| | 00:44 | We will start by looking at the Common tab
in 6.0, which you can see is gone from 6.1.
| | 00:53 | What they did was they incorporated down
here the content of the Common tab.
| | 00:58 | You can see over here in 6.0 color, opacity,
and source has now been moved up here.
| | 01:05 | One other minor rearrangement is the
mask input down here on 6.0 has been now
| | 01:10 | moved to the RotoPaint tab right here.
| | 01:13 | It's now on the middle, but it has
exactly the same features and functionality.
| | 01:19 | The Transform tab in 6.0 has now been
moved up here in 6.1 and it contains
| | 01:24 | exactly the same functionality.
| | 01:26 | There is no change to the Transform tab.
| | 01:31 | Here is the Shape tab in 6.0. It is now
moved up here for 6.1 and again contains
| | 01:36 | exactly the same
functionality with one very minor change.
| | 01:40 | They brought the source here from
the Common tab in 6.0. there it is.
| | 01:45 | So they simply moved it from the
Common tab so that now Shape has its
| | 01:49 | own separate source.
| | 01:52 | Next, the Stroke tab from 6.0
has simply been moved up here.
| | 01:56 | Here is the Stroke tab in 6.1.
| | 01:57 | Again, it has exactly the same
functionality and again the Source option was
| | 02:02 | simply moved from the
Common tab to the Stroke tab.
| | 02:05 | The Clone tab in 6.0 is
now the Clone tab in 6.1.
| | 02:10 | Again, absolutely no change
whatsoever. Exactly the same layout, exactly
| | 02:15 | the same functionality.
| | 02:17 | One other noticeable change is on the
Common tab the lifetime features were down
| | 02:22 | here on the lower part.
| | 02:24 | They have been moved up here to their
own tab, but as you can see they have
| | 02:27 | exactly the same functionality as before.
| | 02:31 | One other new important feature
in 6.1 you want to know about.
| | 02:34 | Lot of folks did not like the idea of
firing up a great big giant RotoPaint node
| | 02:39 | if they just wanted to draw a little shape.
| | 02:41 | So in 6.1 the Foundry has introduced a
new keyboard command, the O key on the
| | 02:48 | keyboard, and it brings up just the Roto node.
| | 02:52 | As you can see, it has only Roto functions.
| | 02:55 | Roto, Transform, Shape, Clone, Lifetime,
and Node and does not have any of the
| | 03:00 | paint functionality.
| | 03:03 | Now back to our main tutorial.
| | 03:06 | So we will select Bezier, draw a shape
here on the screen, hit Return to close it,
| | 03:11 | and take a look at the Common tab.
| | 03:15 | The Common tab allows you to edit attributes
that are common to both shapes and strokes.
| | 03:21 | Remember, when you first invoke a tool
the attributes that are up top are how it
| | 03:26 | will be created, but once it's created
you edit them down here on these tabs.
| | 03:30 | For example, I can edit the Color or
use the eyedropper to select the color
| | 03:37 | off the screen or do the color picker in
order to set a color that I want for my shape.
| | 03:44 | I can also adjust the opacity, and to show
you the blending mode lets add a second shape.
| | 03:50 | So I will just draw another
shape here. Hit Return to close it.
| | 03:56 | This blending mode list is
new with the RotoPaint node.
| | 04:00 | You can choose from this pop-up list
any one of the blending modes you would
| | 04:03 | like for combining the shape
with the rest of the picture.
| | 04:05 | I am going to select my new shape and
delete it in order to show you the lifetime.
| | 04:11 | I will select shape 1 and down
here are the lifetime options.
| | 04:16 | You can choose from this pop-up here
which allows you to choose whether the
| | 04:20 | shape or stroke exists for all the frames in the
shot or selected frame range or just one frame.
| | 04:26 | You can also use these icons
down here, which do the same thing.
| | 04:29 | This icon is the All frames icon.
| | 04:33 | That means of course that the shape is
going to live for all the frames of the clip.
| | 04:39 | If I select this icon I am going to
get from this frame to the end of the shot.
| | 04:43 | Since the playhead is on frame 30, then
this shape will live from frame 30 to the end.
| | 04:48 | If I go past frame 30, I am good, but
if I go before frame 30 it doesn't exist.
| | 04:54 | This is a single frame.
| | 04:57 | In this particular case, this shape only
exists on frame 30. If I go off frame 30
| | 05:01 | it's going to disappear.
| | 05:05 | This option is from the start of the
clip to the current frame and since my
| | 05:09 | current frame is 30, this shape exists
from the beginning of the clip to frame
| | 05:12 | 30 and disappears after that.
| | 05:15 | This last one allows me to
select a particular frame range.
| | 05:18 | So I could say 20-40.
| | 05:22 | So this shape will only exist
between frames 20 and 40. And there you see.
| | 05:26 | We will put that back to all frames.
| | 05:30 | Down here are a couple of other
options. The visible button, which makes it
| | 05:33 | visible or invisible, and locked, which
means the shape can no longer be edited.
| | 05:39 | The next tab is the Transform tab and
this holds all the transform information
| | 05:45 | and animation from using the
on-screen transform jack here.
| | 05:50 | As you can see, as I move it around
the screen, I will adjust the rotate,
| | 05:54 | it starts to update the fields in
Property bin or like any Transform node I can
| | 06:00 | come over to the translate and rotate
and adjust these myself in addition to
| | 06:05 | the on-screen controls.
| | 06:08 | The Transform tab of course is where
you would also link any tracker data
| | 06:12 | that you might have.
| | 06:14 | The Shape tab allows us to
alter other attributes of the shape.
| | 06:17 | Of course, here is our feather
adjustment, the feather falloff, and it also
| | 06:22 | contains motionblur, shutter,
and shutter offset settings.
| | 06:26 | This of course is the
invert button, very important.
| | 06:29 | Down here is the mask input and it works
like any other mask input on any other node.
| | 06:35 | Here is our mask input.
| | 06:36 | If I add a second RotoPaint node and I
will just draw another shape here in the
| | 06:44 | other node and then I will close that node.
| | 06:49 | Connecting the RotoPaint's mask input
to the new RotoPaint node will mask off
| | 06:52 | all the operations in the RotoPaint
node to the new mask and of course it
| | 06:56 | behaves like any other
mask input in any other node.
| | 07:00 | You have the inject, invert,
and fringe options as well.
| | 07:04 | Next, we will take a look at how
the Shapes list is used up here.
| | Collapse this transcript |
| The shape list| 00:01 | I have loaded a fresh new RotoPaint
node so that we can take a look up here
| | 00:04 | at the Shapes list.
| | 00:06 | This is the area that keeps a list of
all the shapes as you draw them and you
| | 00:11 | can use this area to re-order the
layering or rename them or do copy and paste
| | 00:16 | and it even allows you to edit some
common property attributes. Let's take a look.
| | 00:21 | I will punch up the Bezier tool and
remember when you punch up a tool the
| | 00:26 | settings up here control how it will be created.
| | 00:30 | So I am going to initially set this
to be red, so I will be creating a red
| | 00:34 | shape, hit Return to close,
create another shape. This time,
| | 00:41 | I will preset it to make it green,
draw that shape, Return to close.
| | 00:48 | One more, and this one we will make blue.
| | 00:55 | Okay, all three of these shapes have
been entered into the list and their order
| | 01:02 | in the list controls the compositing order.
| | 01:05 | I can also rename them.
| | 01:06 | So I am going to rename this one blue, name
this one green, and we will name this one red.
| | 01:17 | Baecause it's always a good idea to help keep
your production as organized as possible.
| | 01:22 | Right now red is at the bottom of the
stack, so the green and the blue are on top.
| | 01:26 | If I click and drag this icon up, I put
red at the top of the stack, and now it
| | 01:31 | is on top of the blue and the green.
| | 01:34 | You can also copy and paste.
| | 01:36 | I will select the green shape, right
mouse pop-up, Copy. Select the root folder
| | 01:43 | before you do the Paste. Otherwise you will
paste over the attributes of another shape.
| | 01:47 | I now have two green nodes, green and green1.
| | 01:51 | I will do an Undo to get rid of that
green1 copy, and now we will look at the
| | 01:56 | Property shortcut icons
that are here in the list.
| | 01:59 | This first icon is the Visibility
button. The next one is a Lock or Unlock.
| | 02:05 | This allows you to lock a shape
so you don't accidentally edit it.
| | 02:09 | This icon here is the Color, so we can
double-click on that and even change it
| | 02:14 | to a new color if we wish.
| | 02:15 | I will put that back.
| | 02:18 | This is the Invert icon, and this icon
here gives you the Blending mode option
| | 02:23 | pop-up list if you want to
change the blending mode from here.
| | 02:26 | This icon is Motion Blur.
| | 02:28 | If you turn that on, you have
enabled motion blur for that shape.
| | 02:31 | Turn it off, and it's disabled and
this column simply reports the current
| | 02:35 | lifetime setting for that shape.
| | 02:38 | If you have a lot of shapes and strokes
in a RotoPaint node, the processing can
| | 02:42 | get a little slow because the node gets heavy.
| | 02:45 | You can help that by turning the
visibility off, so that will lighten
| | 02:48 | the processing load.
| | 02:50 | So the screen updates will be faster.
| | 02:52 | I will return the visibility here to
show you another very important new
| | 03:00 | feature, the grouping function.
| | 03:02 | You can create a folder and put as
many shapes as you want inside of a folder
| | 03:06 | and then you can change the
attributes of that folder and all the shapes
| | 03:10 | inside will inherit it.
| | 03:11 | Let me demonstrate.
| | 03:14 | If you will select a shape and hit
the plus sign, the folder will simply
| | 03:17 | be created above it.
| | 03:18 | It does not put the shapes inside. It's
simply that's where it is going to be
| | 03:21 | placed in the stack.
| | 03:23 | To put the shapes inside the folder, I
select them and then drag them and drop
| | 03:28 | them inside it, and now I can rename the folder.
| | 03:31 | I will call it foo.
| | 03:34 | I can hide the contents of the folder.
| | 03:36 | Now here is the really kicky bit.
| | 03:38 | If I select the folder, now the
Common, Transform and Shape tabs are now
| | 03:42 | connected to the folder, and everything
I do will be inherited by all the shapes.
| | 03:47 | For example, I can go to the Opacity and
drop the transparency and the green and
| | 03:53 | blue shapes inside the
folder will lose their opacity.
| | 03:56 | We will put that back.
I will go to the Transform tab.
| | 04:00 | Here, I can transform all the
shapes together inside this folder.
| | 04:05 | there they are, they are moving
together. Or go over to the Shape tab and
| | 04:12 | increase the Shape tab attributes like
the Feather, and all of the shapes inside
| | 04:16 | the folder will inherit that attribute.
| | 04:21 | Now we are ready to take a look at the
Output settings for the RotoPaint node up here.
| | Collapse this transcript |
| Output settings| 00:00 | In the top of the Property panel up here
we have a whole series of Output settings.
| | 00:05 | These control the output of the
RotoPaint node for channels, premultiply
| | 00:09 | operations, formats, and
a whole variety of things.
| | 00:13 | The important point to remember is
that these settings here affect the output
| | 00:17 | of the entire node.
| | 00:19 | All shapes, all of the paint, everything.
| | 00:24 | The Output field here is currently set for RGBA.
| | 00:28 | That means it's going to put
out a four-channel mask or paint.
| | 00:31 | If you set it for RGB you are just going
to get the RGB channels, and of course,
| | 00:35 | if you set it for Alpha, it will only
be drawing the mask in the alpha channel.
| | 00:41 | The Output mask is something
we will take a look at later.
| | 00:43 | Here is our Pre-multiply setting.
| | 00:45 | If you want to premultiply an image,
you get to choose between the RGB layers,
| | 00:50 | all four layers, or just the alpha
channel and we are going to take a look at
| | 00:53 | this in our workflow example.
| | 00:57 | Clip two allows you to select whether
you are going to clip to the format of the
| | 01:00 | project or the bounding box, or the
union or the intersection and so on.
| | 01:06 | And the Reformat pop-up allows you to
pick from any of the predefined formats.
| | Collapse this transcript |
| Workflow examples| 00:00 | Now, let's take a look at some
workflow examples to see how these Output
| | 00:04 | channels are used for a
variety of common situations.
| | 00:08 | Let's start by masking a color grade operation.
| | 00:11 | I'll delete this node.
| | 00:14 | Let's go get Marcie.
| | 00:15 | So we'll punch up our Read node.
| | 00:16 | We'll go to our NUKE WORKSHOP, Lesson 1, and
select Marcie, and hook her up to the Viewer.
| | 00:25 | There is a couple of different
workflows for masking off an operation like a
| | 00:30 | color grade or blur.
| | 00:31 | Let's take a look at the inline approach.
| | 00:35 | We'll select Marcie, add a RotoPaint node,
select Bezier, draw a little shape. All right!
| | 00:46 | We now have this shape that's in all
four channels, RBG and the alpha channel.
| | 00:51 | We'll go back to the RGB and what I am
going to do here is I am going to set the
| | 00:56 | Output to alpha channel only.
| | 00:59 | Now we still have a mask in the alpha
channel, but as you could see the RGB
| | 01:03 | channels are cleared.
| | 01:05 | Now, after the RotoPaint node,
below it, I can add a Grade node.
| | 01:11 | If I set the Grade node to like a very
dark gamma, the entire picture is affected.
| | 01:16 | What I am going to tell the Grade node
to do is look in the alpha channel, look
| | 01:21 | here, and use that as a mask for this operation.
| | 01:24 | We do that right here.
| | 01:26 | This pop-up where it says None, we say
go get the rgba.alpha channel and use
| | 01:31 | that as a mask. Turn off the
Overlay, so you can see it.
| | 01:36 | And of course we can invert that mask
so that it color corrects everything
| | 01:39 | except the face, but I'll turn that back.
| | 01:42 | An alternate workflow is to use
the mask input of the Grade node.
| | 01:46 | So I am going to take my
RotoPaint node and pop it out over here.
| | 01:50 | Now, the Grade node is complaining
because I am telling it to use an alpha
| | 01:54 | channel that no longer exists.
| | 01:56 | So I'll set that back to None.
| | 01:59 | We can now pull the mask input here and
hook it up to the RotoPaint node there,
| | 02:03 | and that's another workflow.
| | 02:05 | The key is when to use one or the
other is if you want to preserve the fact
| | 02:09 | that there is no alpha channel or you don't
want to disturb the alpha channel that's there.
| | 02:14 | That's when you want to
use this Mask Input option.
| | 02:18 | Let's see how we'll do a Pre-multiply
operation on a three channel image in
| | 02:23 | order to isolate it for merge.
| | 02:24 | I am going to move my window up here a
little bit and make a copy of Marcie.
| | 02:29 | Well, let's clear the Property Bin, add a
RotoPaint node, and hook it to our Viewer.
| | 02:37 | So let's draw a little roto shape.
| | 02:43 | One, two, three, four, and close with a Return.
| | 02:50 | To do a pre-multiply on the three
channeled image, the first thing we'll do is
| | 02:53 | set the Roto Shape Output to Alpha, so it only
shows up in the alpha channel. There we are.
| | 03:00 | Then we'll set Pre-multiply to RGB.
| | 03:05 | So now the RGB channels
have been pre-multiplied.
| | 03:09 | I'll close the RotoPaint node.
| | 03:12 | We now have a four-channeled
pre-multiplied image that we can then merge
| | 03:16 | over any background.
| | 03:17 | So I'll just go get a checkerboard here,
set that up, drop in a Merge node, hook
| | 03:23 | that up to my checkerboard, and
there we go. We're ready for a composite.
| | 03:28 | I can even add a Transform node to do
our resize, rotate, or scale, or any other
| | 03:35 | information of the pre-
multiplied foreground that I want.
| | 03:38 | But what if you have a four-channel image?
| | 03:44 | How does that change the set up?
| | 03:45 | Well let's take a look.
| | 03:46 | We'll slide this over.
| | 03:48 | Let's copy this checkerboard. Paste it here.
| | 03:51 | we'll clear the Property Bin, hook
that to our Viewer to show you that the
| | 03:57 | checkerboard is in fact a
four channel image, all right?
| | 04:00 | So we want to perform a pre-
multiply on this four channel image.
| | 04:04 | Let's see how the workflow is affected.
| | 04:06 | Select the checkerboard, add our RotoPaint,
select Bezier, draw a simple shape. All right!
| | 04:15 | We have two different ways we can approach this.
| | 04:18 | We could say that I want the Output to
be the alpha channel, but if we look in
| | 04:24 | the alpha channel, don't forget
the checkerboard has its own alpha.
| | 04:27 | So that's what we're seeing there. All right!
| | 04:29 | Go back to RGB.
| | 04:30 | I could say pre-multiply the RGB channels,
but I've still got the solid alpha channel.
| | 04:37 | It doesn't match.
| | 04:39 | So what I can do here is I
could say Pre-multiply RGBA.
| | 04:44 | So now the alpha channel is also
being pre-multiplied by the mask.
| | 04:49 | But there is another workflow.
| | 04:53 | Let me put this back to RGB.
| | 04:55 | So now I am seeing the alpha
channel of the original checkerboard.
| | 05:02 | I can now select the Replace option.
| | 05:04 | Well, what that does is it replaces--
remember my output is the alpha channel.
| | 05:09 | It will replace the alpha channel of
the incoming checkerboard with the alpha
| | 05:14 | channel from the RotoPaint node.
| | 05:15 | Now, this is different than doing a
pre-multiply on the alpha channel.
| | 05:23 | We'll go back to our RGB channels,
and take a look at the next setup.
| | 05:27 | How do we use a RotoPaint node to
do a garbage matte on a blue screen?
| | 05:31 | So let's check that out.
| | Collapse this transcript |
| Creating garbage mattes| 00:01 | Let's take a look at the how to use the
RotoPaint node to do garbage mattes for
| | 00:04 | green screens and blue screens.
| | 00:06 | Let's go get a blue screen
picture. Punch up our Read node.
| | 00:10 | We'll go to the NUKE WORKSHOP > Lesson_02_
Media, there is a blue screen, so we'll
| | 00:16 | bring that in, add our
RotoPaint node, hook it to the Viewer.
| | 00:25 | All right, as I said, there are two
general approaches. Sometimes you want to
| | 00:30 | flood-fill the outside of the plate with
a solid blue so the keyer will pull the
| | 00:35 | key of the solid blue.
So here's how we'll do that.
| | 00:39 | Punch up our Bezier, click on the good
part of the picture here. Return to close.
| | 00:47 | All right, so we've filled it with white.
| | 00:50 | So the first thing we want to do is
go over to the Shape tab so we can
| | 00:54 | invert it. Click invert.
| | 00:55 | So now we've flood-filled the
outside but not with the right color yet.
| | 01:00 | We'd go back to the Common tab, punch
up the Eyedropper and Shift+Command to
| | 01:07 | select a region to match the blue.
| | 01:09 | We now have a perfect blue out here that
the keyer will happily pull a very nice key.
| | 01:14 | The second garbage matting scenario
is you've already pulled the key with
| | 01:18 | the keyer and you want clear it
out of the alpha channel and the pre
| | 01:21 | multiplied foreground control.
| | 01:22 | Let's take a look at that workflow.
| | 01:23 | We will borrow the same blue screen element.
| | 01:28 | Clear our Property bin.
| | 01:30 | Let's use a Primatte keyer.
| | 01:32 | I know we haven't done
Primatte yet but that's okay.
| | 01:34 | And then we'll attach to our Viewer.
| | 01:36 | All right, first thing we are going do
in Primatte is we'll select our backing color
| | 01:42 | and then we'll go clear our
background noise, get a nice good clean matte here.
| | 01:50 | Then we'll clear the foreground noise,
just a quick and dirty matte to illustrate
| | 01:53 | the workflow. That's all we want to do.
| | 01:55 | Okay, let's pretend that's good enough
and now what we want to do is we want
| | 01:59 | a garbage matte black every where outside of
this on both the RGB and the alpha channels.
| | 02:05 | All right, so we'd go below the
Primatte node and we'll add a RotoPaint node,
| | 02:13 | select our Bezier, click, click, click, click,
and this time, I am going to click to close.
| | 02:21 | Okay, now again we've flood filled
with white. Same drill as before.
| | 02:27 | Go to the Shape tab and set it for
Invert and now we've got white outside but we
| | 02:33 | don't want white. We want black.
| | 02:35 | So we'll go to the Common tab and
we'll just set the color down to black.
| | 02:40 | Note that the output of the RotoPaint
is four channels, RGBA, so,I have flood
| | 02:45 | filled black outside on both the RGB
and the alpha channels and now we have a
| | 02:52 | beautifully garbage matted key.
| | 02:54 | We'll turn the overlay back on, go back
to the RGB. I have reset the Viewer to
| | 03:01 | RGB and turned the Overlay back on so we
can take a look at how we might garbage
| | 03:05 | matte a Luma key.
| | 03:06 | For that let's clear our Property bin,
get the Read node, go to our week3 media,
| | 03:14 | select the desert.cin picture.
| | 03:18 | Okay we'll add a keyer to this.
| | 03:21 | Let's go up here to the Key tab. Now we
haven't-- again we haven't talked about
| | 03:24 | the Keyer node, but that's okay because we
are going to take a look at the Luma key.
| | 03:29 | Okay, the way the Luma key works is it
puts a grayscale luminance image in the
| | 03:35 | alpha channel and then you get to adjust
it here to pull a key on the luminance.
| | 03:40 | Let's say we wanted to
isolate those clouds, for example.
| | 03:43 | Well this is the common
problem with the Luma key.
| | 03:45 | It captures more than the item of interest.
| | 03:48 | So we now have all these rocks in part
of our Luma key, which we don't want.
| | 03:52 | All right so we'll select the
Luminance key, insert a RotoPaint node, punch
| | 03:59 | up our Bezier, draw a shape around the
stuff we want to make go away, click to close.
| | 04:08 | Now we've flood-filled it with white.
So let's go look at the RGB channels,
| | 04:14 | which is exactly what we told our shape to do.
| | 04:17 | The RotoShape default is it
is going to output it in RGBA.
| | 04:20 | So first of all, we don't want it in RGB
channel. So we'll set the output to Alpha.
| | 04:26 | Go back and look at the alpha channel.
We now filled it with white but we want
| | 04:30 | to fill it black, no sweat.
| | 04:32 | Go to the Common tab here and just dial
the color down to black and there you have it.
| | 04:40 | So hopefully, these workflow examples
will give you a good idea on how you
| | 04:44 | actually use the RotoPaint node to
create shapes for masking and keying
| | 04:48 | and garbage matting.
| | 04:50 | Now let's take a look at how to use
the paint part of the RotoPaint node.
| | Collapse this transcript |
| Drawing strokes| 00:01 | All of the Paint tools, Clone
and Blur and Erase, they are all
| | 00:05 | really based on strokes.
| | 00:07 | So let's take a look at what a stroke is.
| | 00:12 | First of all, I'm going to select the
Brush tool and just draw a stroke across
| | 00:17 | the screen, and it shows up here in our list.
| | 00:22 | When I finish the stroke, it stays in
Brush tool, so I can immediately draw a
| | 00:26 | couple of more if I want.
| | 00:28 | Whichever stroke is currently
selected, will be hooked up to the Common,
| | 00:32 | Transform and Stroke tabs.
| | 00:34 | You can now adjust the
parameters after the fact.
| | 00:37 | So we could for example, change that Opacity,
put that back, or change the blending mode.
| | 00:44 | On the Transform Page, we can do a
transformation, or on the Stroke Page,
| | 00:52 | we could edit something like the Brush
Size or the Brush Hardness, anything we want.
| | 00:57 | Put that back to the Common tab.
| | 01:00 | While the default lifetime of a
shape is the full length of the clip,
| | 01:04 | the default lifetime of a stroke is always
one frame, the current frame, and you can
| | 01:09 | see right here, these
strokes are all created on Frame 1.
| | 01:12 | Now, let's take a look at
how to edit the stroke points.
| | 01:16 | First of all, we have to
select our Selection tool.
| | 01:20 | But you'll notice that we
can't select any points.
| | 01:22 | We don't have any points on our stroke.
| | 01:26 | In order for you to see the points
of a stroke, you have to turn on Allow
| | 01:30 | Paint Selection here.
| | 01:32 | Now we can edit the points of that stroke.
| | 01:37 | We can also move the entire stroke
around with the transform jack and we can
| | 01:42 | select points using the transformation
box, move them all as a group, or select
| | 01:49 | points, hit the Delete key to erase them.
| | 01:52 | And I can insert points from the keyboard--
| | 01:54 | First, I'm going to have to select
the stroke. By using the universal insert
| | 01:58 | command, Alt+Command+Left
Mouse Button, click, click, click.
| | 02:03 | Now let's take a look at
how we might animate a stroke.
| | 02:06 | I'm going to delete these other two
strokes here, get them out of our face,
| | 02:10 | select them in the list, and hit
the Delete key, and select Stroke1.
| | 02:16 | If we're going to animate a stroke,
the first thing we have to do is give it a
| | 02:19 | life span of longer than one frame. Right?
| | 02:22 | Okay. So let's do that.
| | 02:24 | Let's roll the playhead out here to Frame 20.
| | 02:27 | And with Stroke1 selected, on the
Common tab, we'll come to the Lifetime Type
| | 02:33 | and we'll set it for here, for beginning to
current frame, from the start frame to Frame 20.
| | 02:39 | And now, as I scrub the playhead, we
can see the stroke has a lifetime up to
| | 02:43 | 20 and then it's gone.
| | 02:46 | With the lifetime of the stroke set, I can
now, for example, edit the control points.
| | 02:51 | So let's select a bunch of control
points, give it a real obvious change,
| | 02:56 | and now we can see how the control points are
animated over the lifetime of the stroke, right.
| | 03:02 | Next, let's take a look
at animating the transform.
| | 03:04 | Again, I'm on frame 20.
| | 03:05 | I'll make sure, my stroke is selected,
go to the Transform tab and let's say
| | 03:11 | that I'm going to animate the Rotate on it.
| | 03:13 | All right, now we have
points and transforms animated.
| | 03:19 | While we can select the Stroke tab and
animate any of the properties that are here.
| | 03:23 | We'll go back to the Common tab.
| | 03:25 | I'll put the playhead back to Frame 1.
| | 03:27 | I'm going to select the Brush tool again.
| | 03:33 | And remember that we said that the
properties that are set up here will be
| | 03:36 | used when it's drawn.
| | 03:37 | So let's go here and change our color,
close that, and we'll tap up the size,
| | 03:47 | and let's change the hardness, okay.
| | 03:51 | Now when we draw, we're going to get a brush
that has that color, that size and that hardness.
| | 03:57 | And of course, we can go edit that
with any of the three tabs that we can use
| | 04:01 | to edit the stroke.
| | 04:03 | And of course, we can swap the order
layer and now Stroke1, the white stroke,
| | 04:08 | is on top of Stroke2.
| | 04:10 | After a stroke is drawn, its
control points can be edited as well.
| | 04:14 | We'll see how in the next movie.
| | Collapse this transcript |
| Editing strokes| 00:01 | To edit the control points of a stroke,
we have to first select the stroke
| | 00:04 | with the Selection tool.
| | 00:06 | We can go to the Selection tab and select any
of the strokes that are on the current frame.
| | 00:11 | We can select them from the screen like
this or come over to the list and click
| | 00:15 | on them in the list.
| | 00:17 | Let's take a closer look at
these Selection tools here.
| | 00:20 | To do that, we'll need a shape.
| | 00:22 | So, I'm going to add a little
shape here. Return to close the Shape.
| | 00:26 | And now we'll take a look at
the four selections in the pop-up.
| | 00:33 | The Select Curve tool will allow
you to select curves, but you can't
| | 00:37 | select points with them.
| | 00:40 | I'm trying to move these points and
no matter how I click and drag,
| | 00:44 | the points will not move.
| | 00:46 | Now, the purpose of all these little
Selection tools here is for close order
| | 00:50 | drilling, when you have lots of control
points and curves all clustered together
| | 00:53 | in a small space. This helps you down -elect
so that you can pick just the thing you want.
| | 01:02 | If you select the Points tool,
now you can move just the points.
| | 01:07 | And if you select the Feather tool,
you can now affect just and only
| | 01:12 | feathered selections.
| | 01:15 | In other words, I cannot move this
point here or this handle here, but I can
| | 01:19 | move this feather right here.
| | 01:22 | So this point here, Select Feather Points
tool, is used only for editing feather points.
| | 01:29 | And the Select All tool obviously will
let you select points, curves, feathers,
| | 01:35 | anything and everything.
| | 01:41 | Just remember, if you want to be able
to edit the control points of a stroke,
| | 01:45 | you must have allow paint selection enabled.
| | 01:52 | Next, let's take a look at
the Point Edit pop-up menu.
| | 01:55 | You have a variety of tools here that
are designed specifically for editing
| | 02:00 | just single points.
| | 02:01 | For example, the Add Points tool.
| | 02:04 | All it does is insert control points.
| | 02:07 | Of course we know, we can insert
with Alt+Command+Left Mouse Button.
| | 02:12 | So for most of these, you're going
to want to use the quick keys unless
| | 02:14 | you're in a tight spot.
| | 02:15 | Now then you'd want to use these tools.
| | 02:17 | Remove the Points tool will allow you
to click away one single point at a time.
| | 02:22 | Next, let me select a shape,
so I've got a point here.
| | 02:25 | And the Cusp Points tool will
turn a shapes point into a cusp.
| | 02:30 | And the Curve Points tool will
turn that cusp back into a curve.
| | 02:36 | Of course, we have those same things right
here on the smooth and Cusp pop-up quick keys.
| | 02:46 | The Remove Feather tool will
remove of course a feather, there.
| | 02:51 | You of course can use the Reset
Feather option or Shift+E from the keyboard.
| | 02:58 | Reposition this over here so I could
show you the last thing, which is the
| | 03:01 | Open/Close Curve tool.
| | 03:03 | This is specifically designed for
shapes and you must click on a control point.
| | 03:09 | And it will open, doesn't matter which
control points you click on, or close a shape.
| | 03:14 | We'll zoom out here and re-home the
Viewer, so I could show you the Eraser tool.
| | 03:20 | Now the Eraser tool is a stroke
like any other with just some slightly
| | 03:24 | different attributes.
| | 03:25 | And by the way, check this out.
| | 03:27 | We can increase the size of the brush
on the screen by holding down the Shift
| | 03:31 | key and drag it. So Shift and drag to
change your brush size dynamically on the
| | 03:37 | screen, instead of typing in numbers.
| | 03:39 | All right, we're set for erase and I'm
going to just erase a great big swipe over here.
| | 03:45 | So that I can show you that
the Erase is just another stroke.
| | 03:49 | And you can tell an erase stroke from
all the other strokes by its source.
| | 03:54 | Any erase stroke, the source is
background whereas the other paint strokes,
| | 03:58 | the source is color.
| | 04:00 | And of course we can reorder, if I
move the shape above that erase stroke, it
| | 04:04 | will no longer erase the shape.
| | 04:07 | And of course, we can edit the control
points of the shape stroke by selecting it,
| | 04:11 | going to our Selection tool, make
sure Allow Paint Selection is enabled, and
| | 04:16 | then we can edit the
control points of our Erase.
| | 04:19 | Now that we've seen how the Brush tool
and the Erase tool are just variations on
| | 04:25 | the stroke, let's take a look at the
Clone tool and see how it uses strokes.
| | Collapse this transcript |
| The Clone tool| 00:01 | The Clone tool is designed to copy
pixels from within the same frame.
| | 00:05 | If you want to copy pixels from another
frame or a different background, you'll
| | 00:08 | need to use the Reveal tool.
| | 00:10 | So, let's see how the Clone tool works.
| | 00:12 | First, we'll need a picture.
| | 00:13 | So, let's go get Marcie.
| | 00:14 | We'll type R on the keyboard to
get the Read node, select the NUKE
| | 00:20 | WORKSHOP > Lesson_01_Media,
and select Marcie and say Open.
| | 00:27 | Then we'll add a RotoPaint node with
P on the keyboard and connect it to
| | 00:30 | the viewer by typing 1.
| | 00:33 | Okay, let's zoom in, take a close look
at Marcie, and to select the Clone tool,
| | 00:40 | just come over here. Right
mouse popup and select Clone tool.
| | 00:45 | Now, first, it doesn't look like a Clone
tool at all, but to get the separation,
| | 00:49 | the offset, to set the offset, hold
down the Command key, click and drag with
| | 00:54 | the left mouse button.
| | 00:55 | To set the size of the brushes, hold
down the Shift key, click and drag and you
| | 01:00 | can set the brush sizes on the screen.
| | 01:03 | Okay, so we're going to clone these eyes.
| | 01:06 | So, let's just clone--
Oh that's just disturbing.
| | 01:12 | Okay, so our Clone Stroke appears here
in the list and we can tell it's a clone
| | 01:17 | because the source is the foreground and
of course, like any brush stroke, it has
| | 01:21 | a life of one frame, the
current frame, unless you change that.
| | 01:25 | Once a stroke has been created, it
can be modified after the fact with the
| | 01:29 | Common, Transform, Stroke, and Clone tabs.
| | 01:33 | We'll get a closer look at
these tabs in the next video.
| | Collapse this transcript |
| Editing the Clone tool| 00:01 | Let's take a closer look at how to use
the parameter tabs with the Clone tool.
| | 00:05 | On the Common tab, for example, you
could change the transparency. We'll put
| | 00:08 | that back to default.
| | 00:10 | On the Transform tab, watch what
happens now when I change the transform.
| | 00:16 | I'm not transforming the
offset to the source image.
| | 00:19 | I'm transforming the
strokes themselves, you see that.
| | 00:23 | So, I'm going to lower that down a little bit
there, so that we can go look at the Stroke.
| | 00:30 | Now here, you can change the brush size,
so we can make the size larger or make
| | 00:35 | it harder. I'll put those back.
| | 00:39 | Then on the Clone page, this is where
you actually can adjust if you need to
| | 00:43 | the offset from the source.
| | 00:49 | So, the Clone tab translates X and Y is
the offset to the source plate whereas the
| | 00:54 | Transform X and Y is the brushstroke itself.
| | 01:00 | Back to the Clone tab, there's something very
important on here. Round to pixel. Let's push in.
| | 01:05 | I'm going to turn the overlay off from
the screen so we can get a better look.
| | 01:10 | To make this next point more clearly,
I'm going to edit the translate X and
| | 01:15 | Y values, so the pixels are offset by half
a pixel and you can see how they've softened.
| | 01:20 | The clone looks a lot
softer than the original eyes.
| | 01:24 | That's what round to pixel is about.
| | 01:27 | If you click round to pixel, it ignores
the floating point offset, so the pixels
| | 01:31 | are no longer filtered.
| | 01:34 | As a result, the clone is
just as sharp as the original.
| | 01:37 | However, it's going to be slightly off.
| | 01:40 | In this case, it would be
off by half a pixel in X and Y.
| | 01:43 | So, if you use this on a low resolution
picture like standard def video, that's
| | 01:47 | going to shift the position by
quite a bit and may not be workable.
| | 01:51 | You can use it on a high res picture
like a 2K or a 4K and you wouldn't see the
| | 01:55 | shift in position hardly at all.
| | 01:58 | To edit the points of a stroke,
it's the same drill as before.
| | 02:00 | We'll select the Selection tool. Turn the
overlay back on so we can see our stroke.
| | 02:06 | We have to allow paint selection.
| | 02:08 | There is our control points and now we can
edit the points in our Clone tool stroke.
| | 02:14 | The Clone and Reveal tools have an
extra option up here in this top menu.
| | 02:18 | I'm going to close this
Property panel a bit to show you.
| | 02:21 | If we unfold that, this gives you some
additional options when you select the
| | 02:26 | Clone Brush. You can type in translate
X and Y values or rotates and scales.
| | 02:32 | You can set the center position and
turn on the round to pixel feature right here,
| | 02:37 | so that your next
stroke can be done by the numbers.
| | 02:41 | But normally you'll leave that off.
| | 02:44 | Now that we've seen how the Clone
tool copies pixels from within the same frame,
| | 02:47 | next we'll take a look at the
Reveal tool to see how it copies pixels
| | 02:51 | between different frames.
| | Collapse this transcript |
| The Reveal tool| 00:01 | I've reset Nuke so that we can take a
look at the procedure for doing the Reveal
| | 00:04 | Paint from different frames of the same clip.
| | 00:08 | We're going to need a clip to look at.
| | 00:10 | So, we'll type R on the keyboard to
get our Read node, select the NUKE
| | 00:15 | WORKSHOP, select Lesson_03_Media,
select the Reveal clip and bring in the
| | 00:21 | 10-frame reveal clip here.
| | 00:23 | Okay, with the Read node selected,
type P on the keyboard to get a RotoPaint node,
| | 00:28 | type one in the keyboard and hook
it up to the viewer and we'll make the
| | 00:32 | viewer a little larger so we can
see better of what we're doing.
| | 00:34 | All right, so here's the deal with this clip.
| | 00:37 | What we want to do is on frame 5,
her eyes are closed and we want to reveal
| | 00:43 | through the open eyes from frame 1.
| | 00:45 | So, we'll put the playhead on
frame 5 and select the Reveal tool and
| | 00:51 | immediately, the menus above the
viewer change for the Reveal tool.
| | 00:55 | I'm going to widen the viewer window
so that our menu is not all crunched up.
| | 01:00 | Background 1 or BG1 will be the source
for the Reveal tool and you'll find it
| | 01:06 | here on the side of the RotoPaint node, BG1.
| | 01:08 | You think we could hook it to
the original clip, but we can't.
| | 01:12 | What you have to do is make a copy of
the original Read node and paste it over
| | 01:17 | here and hook BG1 up to that.
| | 01:22 | So, the setup for a reveal within the
same clip is the clip is hooked to the BG
| | 01:26 | input and a copy of that
same clip is hooked to BG1.
| | 01:29 | You'll now be able to read BG1 and select
different frames than the current frame.
| | 01:36 | Next, we'll turn on our onion skin option.
| | 01:38 | This allows us to see a mix between
the current frame and the offset frame.
| | 01:43 | So, the next thing we
need to set is the time mode.
| | 01:45 | We have relative, which is relative
to the current frame, or absolute, which
| | 01:49 | means we're going to go get a specific
frame number, and that is what we want
| | 01:53 | to use in this case.
| | 01:53 | I want to get frame 1, so I'll set the
time mode for absolute and set the time
| | 01:58 | offset or delta T for 1.
| | 01:59 | So that means go get frame 1 absolute.
| | 02:04 | As you can see, the onion skin changes
as I step through the different frames.
| | 02:08 | Okay, it's back to frame
1 which is the one I want.
| | 02:11 | I'll then turn off the onion skin,
zoom into my picture, I can now bring my
| | 02:16 | viewer size back down.
| | 02:20 | Hold down the Shift key to set my brush
size and do a reveal of frame 1 into frame 5.
| | 02:29 | To check my work, I can select both of
these strokes and we make this window a
| | 02:33 | little larger and toggle the
Visibility buttons on and off.
| | 02:38 | Let's make the viewer wide again
so that we can see our menu up here.
| | 02:41 | With the time mode set for absolute,
if I move the playhead to frame 6, I'm
| | 02:46 | still going to be revealing in frame 1.
| | 02:49 | So this time, I'm going to
set the time mode to relative.
| | 02:53 | Now, as I change the playhead, my source
frame will be relative to the current playhead.
| | 03:00 | So, in the relative time mode with the
delta T at +1 that would mean use the
| | 03:03 | frame following this one.
| | 03:05 | Delta T of 0 is obviously an offset
of no frame, so that would be revealing
| | 03:10 | through to the same frame.
| | 03:11 | -1 is the previous, -2, -3, -4. I'm now
four frames ahead of my current frame.
| | 03:18 | So, on frame 6 I'll be revealing from frame 2.
| | 03:24 | Turn off the onion skin, the viewer
back here, and we'll do a paint through
| | 03:29 | from frame 2 to frame 6.
| | 03:32 | Now, if I move the playhead forward to
frame 7, turn on onion skin, I'll now be
| | 03:38 | doing a reveal from frame 3 to frame 7.
| | 03:42 | I'll put the playhead back to frame 6.
| | 03:45 | We don't need this Read node
anymore, so I'm going to clear that.
| | 03:49 | If you'd like the list window to be
larger so you can see more strokes, you can
| | 03:52 | always increase the size in the Property panel.
| | 03:55 | Let's take a closer look at this
source thing and how that works.
| | 03:59 | To show you that, I'm going to go
to the Brush tool and I'll select an
| | 04:04 | attractive color and
we'll paint that over one eye.
| | 04:09 | So that now is Stroke6.
| | 04:10 | So, the way we read that is the source
for Stroke6 is color, which of course is
| | 04:16 | that color chip that I selected.
| | 04:18 | If I do a right mouse popup and I say
the source for Stroke6 is the foreground,
| | 04:24 | that means in RotoPaint speak, the foreground
is the top composited layer of all the strokes.
| | 04:31 | In other words, you're seeing strokes 5,
4, 3, 2, 1 revealed through Stroke6.
| | 04:37 | So, we're seeing the repaired eye, we're
seeing the eye that we revealed through.
| | 04:42 | If I change the Source to background,
that means I may be looking at the original
| | 04:46 | clip coming in on the BG input.
| | 04:48 | Now that we've seen how to reveal
between different frames of the same clip,
| | 04:52 | let's take a look at how we would
reveal between several different clips.
| | 04:57 | I've reset Nuke so that we can see
how to do a Reveal Paint through three
| | 05:01 | different background clips.
| | 05:04 | So, let's go get a clip, we'll
select R for the Read node, go to the NUKE
| | 05:09 | WORKSHOP > Lesson_03_Media, select the
Reveal clip, and bring in those 10 frames.
| | 05:16 | Add a Paint node, connect it to the
viewer, you all know how to do that.
| | 05:22 | Okay, for our three inputs, I'm just
going to use from the popup menus a
| | 05:27 | CheckerBoard, ColorBars and a ColorWheel.
| | 05:38 | Now I need all of these to be
the same size as my input clip.
| | 05:41 | So, I'm going to go to the project
settings so I can set the full size format to
| | 05:46 | match my input clip, 512x413.
| | 05:49 | Now, all three of these nodes would be
the same size as my input clip, which is
| | 05:52 | what I'm looking for.
| | 05:53 | I'll clear the Property bin and
we'll put the RotoPaint node back in by
| | 05:59 | double-clicking on that.
| | 06:00 | I also want to float my RotoPaint node,
so I've got more room for my Reveal menus.
| | 06:08 | Make the viewer a little taller,
move this over here, move this over here.
| | 06:14 | Next, we'll go to the Clone tool and
select the Reveal tool and of course,
| | 06:19 | all the menus change.
| | 06:21 | And here is where we select the
different background inputs. So first we'll
| | 06:24 | have to hook them up.
| | 06:26 | So, we'll go to the RotoPaint node,
pull out the left arrowhead and we get BG1,
| | 06:31 | We'll hook that to the CheckerBoard.
| | 06:34 | New arrowhead pops up, pull that out.
| | 06:36 | It's BG2. Hook that to the ColorBars.
| | 06:39 | New arrowhead pops up, pull that out.
| | 06:41 | It's BG3, hook that to the
ColorWheel and there we have it.
| | 06:45 | our three different background inputs
to the RotoPaint node, and we select
| | 06:49 | between them by going to this popup here.
| | 06:53 | So, if I turn on the onion skin,
background 1 is the CheckerBoard and we see
| | 06:56 | that onion skinned with our clip.
| | 06:59 | Background 2 is the ColorBars and
there is the onion skin and background 3 is
| | 07:05 | the ColorWheel and there
is the onion skin for that.
| | 07:07 | To align each of these backgrounds with
the foreground, we would use the reveal
| | 07:12 | popup but everything is ghosted out.
| | 07:14 | That's not quite working yet.
| | 07:16 | So, we're going to do it without that.
| | 07:19 | I'll turn off the onion skin.
| | 07:21 | I'll select background 1 so
I'm talking to the CheckerBoard.
| | 07:26 | I'll use Shift and drag to increase my
brush size and I'll reveal through from
| | 07:32 | the CheckerBoard. And if I go to
background 2, which is the ColorBars, reveal
| | 07:38 | through the ColorBars and then
background 3, which is the ColorWheel, and reveal
| | 07:44 | through the ColorWheel.
| | 07:45 | We move the playhead to the next frame.
| | 07:50 | Now, if I want time offsets for
those backgrounds, I would do that here.
| | 07:54 | So, I'll select background 1, onion skin on.
| | 07:59 | First, I'll set the time mode relative
or absolute. Let's say absolute frame 3,
| | 08:06 | turn off the onion skin, paint through.
| | 08:11 | Then I'll switch to background 3, turn
on the onion skin, do my transformation
| | 08:17 | adjustments and my time adjustments.
| | 08:18 | So, let's say I want to set this to relative -1.
| | 08:23 | There we go, all right.
| | 08:26 | Turn off the onion skin and
paint through to background 3.
| | 08:30 | And by the way, you can check your
time offsets over here in the Stroke list.
| | 08:35 | Here's Stroke5. If we go to the Clone tab,
we can see that the time offset was -1
| | 08:41 | and the time mode was relative.
| | 08:44 | If we select Stroke4, the time mode
was absolute and we had selected frame 3.
| | 08:50 | So, each stroke remembers its own
transformation offsets as well as its time offsets.
| | 08:56 | Now, we're ready to look at blur,
sharpen, and smear using the Blur tool.
| | Collapse this transcript |
| The Blur tool| 00:01 | The Blur tool pop-up here contains
actually three tools, Blur, Sharpen, and Smear.
| | 00:07 | Let's start by taking a look at
the Blur tool. I'll select that.
| | 00:10 | We'll zoom in to Marcie and remember
you can change the brush size on the
| | 00:14 | keyboard with a Shift key.
| | 00:15 | I'll blur out this eye here.
| | 00:19 | Now, the amount of blur is controlled
by this setting right here, the effect.
| | 00:23 | So the effect in this case is the blur.
| | 00:25 | So, I'm going to turn the
effect down to a level of 2.
| | 00:28 | Come over here and blur this eye, and
you can see there is much less blur effect.
| | 00:32 | Now, if we go over to the Property panel
and click on the Stroke tab, we can see
| | 00:37 | that the brush type is set to blur.
| | 00:39 | It's actually choosing from this pop-up
here and you can change that if you wish.
| | 00:43 | The effect setting for this
particular stroke is 2, and of course if I
| | 00:46 | increase that, the blur goes up.
| | 00:48 | So, you can always edit
your strokes after the fact.
| | 00:51 | Change brush types, change the hardness
settings, change the effect, anything you want.
| | 00:56 | Okay, let's delete these.
| | 00:58 | I'm going to select both of these and
hit the Delete key so that we could take a
| | 01:02 | look at the Sharpen tool.
| | 01:05 | Again, the effect is set for 15, so I'm
going to sharpen this eye at 15, say whoa,
| | 01:09 | that really sharpens that up.
| | 01:11 | We will turn the effect down to 2 and
do a more gentle sharpening over here.
| | 01:17 | Once again, the brush type is
set to sharpen from the pop-up.
| | 01:21 | Stroke2 is selected up here in the
list and its effect is set for 2.
| | 01:25 | Of course, if I increase that, then
Stroke2 will be sharpened much more.
| | 01:29 | Again, we'll select these two and hit
the Delete key to get rid of those, then
| | 01:34 | take a look at the last tool
in the Blur pop-up, the Smear tool.
| | 01:38 | Now, the interesting thing about the
Smear tool is the effect has no effect.
| | 01:43 | If I click and drag here, there is no way I
can change the amount of smear with the effect.
| | 01:50 | However, if the hardness is turned up,
that has the effect of increasing the
| | 01:56 | amount of smear that you get.
| | 01:57 | Once again, on the Stroke tab, the brush
type is set to smear out of the pop-up,
| | 02:03 | and the effect slider is ghosted out.
| | 02:06 | However, I could adjust the brush
hardness if I want to bring down the effect,
| | 02:10 | turning down Stroke2 now.
It's like I almost turned it off.
| | 02:14 | So, the only way you can change the
amount of smear is by dialing in the brush hardness.
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| The output mask| 00:01 | It's now time to take a look at this
output mask here, something we talked about
| | 00:05 | earlier, but we said we were going to
look at it later. Well, it's later.
| | 00:10 | Here's the issue.
| | 00:12 | When you're painting, the RotoPaint
node will make a nice mask for you.
| | 00:15 | Put him in the alpha channel so that you can
use it later if you want to do like a regrain.
| | 00:19 | But what about our blur or sharpen?
| | 00:22 | So, let's take a look at that situation.
| | 00:25 | I want to select the Brush tool and
increase by brush size and paint up here.
| | 00:34 | Now, the output of the RotoPaint
node right here is set for rgba.
| | 00:38 | So, this paint shows up in the alpha channel.
| | 00:42 | There is the alpha channel of the viewer, okay?
| | 00:44 | That's well and good.
| | 00:45 | Of course, Marcie is a three-channel image.
| | 00:47 | However, I'm going to go over
here and turn on the Eyedropper, then
| | 00:53 | Command+Click on the screen to
select this red, and paint that.
| | 00:59 | Now let's look at the alpha channel. Oops!
| | 01:02 | There is no alpha for this. Why is that?
| | 01:06 | The reason is when I used the color
picker to pull up this red, I pulled up
| | 01:11 | by three-channel red.
| | 01:12 | There is no alpha channel on this image,
so the brush painted a three-channel
| | 01:17 | red, no alpha channel.
| | 01:19 | So now, I don't have a mask
if I need it to regrain this.
| | 01:24 | Similarly, let's look at the Blur tool.
| | 01:26 | Let me turn the effect up to 15, and
if I run a great big blur across here,
| | 01:32 | again, nothing in the alpha channel.
| | 01:35 | Select RGB, and one more, the
Smear tool, and we'll smear this.
| | 01:42 | And still nothing in the alpha channel.
But the RotoPaint node is creating a
| | 01:48 | mask for every single stroke you do.
| | 01:52 | It's called the output mask right
here and you can place this one channel
| | 01:55 | mask anywhere you wish.
| | 01:57 | For example, if I go over to none, to
the pop-up and say put the output mask
| | 02:03 | into the rgba.alpha
channel of this image, right?
| | 02:08 | Now, when I switch the alpha channel,
there they are. Every single brush stroke
| | 02:12 | I did now has a mask.
| | 02:14 | I can use it to regrain or anything I want.
| | 02:17 | I can also turn it off.
| | 02:19 | However, I could also say I want you to
put that output mask into the mask.a channel.
| | 02:26 | The mask.a channel is kind of a
special reserved channel in Nuke that you can
| | 02:30 | use to temporarily throw any masks in you want.
| | 02:33 | So, I'm going to put the
output mask into the mask.a channel.
| | 02:37 | It has disappeared out of
the alpha channel. Where is it?
| | 02:40 | If I go over here and say put
mask.a channel into the viewer alpha
| | 02:45 | channel, there they are.
| | 02:47 | So, the output masked option will give
you a mask for every single brush stroke
| | 02:51 | you do in the RotoPaint node.
| | 02:53 | Next, let's take a look at the Dodge tool.
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| The Dodge tool| 00:01 | I've reset Nuke and loaded a clean
Marcie in RotoPaint node so we can take
| | 00:05 | a look at the Dodge tool.
| | 00:07 | The Dodge tool pop-up contains two
tools, the Dodge tool and the Burn tool.
| | 00:12 | Let's take a look at the Dodge tool first.
| | 00:13 | I'm going to use the Shift key to
expand the size of my brush, and I'm going
| | 00:18 | to draw on the screen.
| | 00:20 | What's happening is the lighter parts
of the picture are getting lighter, but
| | 00:25 | the dark parts don't seem to be affected at all.
| | 00:28 | That's the way of the Dodge tool.
| | 00:30 | If we come down here and look at the Stroke
tab, we'll see that the brush type is paint.
| | 00:36 | On the Common tab,
the blending mode is color-dodge.
| | 00:41 | If I select all three of those
strokes and change the blending mode to
| | 00:45 | something else like over,
the effect goes completely away.
| | 00:49 | So, we'll go back to our color-dodge and
delete the strokes with the Delete key, there.
| | 00:55 | The Burn tool, the second item in the
pop-up, right here, Burn tool. Again, I'm
| | 01:00 | going to increase the size of the brush,
and I'm going to turn up the hardness
| | 01:05 | tab that up a little bit.
| | 01:07 | Okay, so let's take a look at the Burn tool.
| | 01:12 | The Burn tool seems to be darkening
everything that isn't really bright and
| | 01:16 | this is the way of the Burn tool.
| | 01:18 | We'll go to the Stroke tab, and
again the brush type is paint.
| | 01:23 | On the Common tab,
the blending mode is color-burn.
| | 01:27 | So, if I select all three strokes and
set the blending mode to something like over,
| | 01:32 | the effect completely disappears.
| | 01:35 | We'll put that back to color-burn.
| | 01:38 | For both the dodge and the burn tools,
you can adjust their effect, dial down
| | 01:43 | the effect, by lowering the opacity.
| | 01:45 | Here I'll drop the opacity
down here. There you go.
| | 01:49 | In fact, I'm going to dial those completely off.
| | 01:52 | So, there you have the RotoPaint node.
| | 01:54 | It combines roto shapes and paint in
one node, and you can draw as many shapes
| | 02:00 | as you want, as many paint strokes as you want.
| | 02:03 | It's a procedural paint system.
| | 02:04 | You can edit the paint strokes and edit
the shapes and animate them after the fact.
| | 02:10 | You can rename your strokes and your shapes.
| | 02:12 | Group them together into groups,
assign attributes to everybody in a group.
| | 02:17 | It also has the Clone and Reveal
tools as well the Dodge and Burn.
| | 02:23 | Don't forget about that output mask,
so that you can get a mask for any brush
| | 02:27 | stroke, any operation you do in the
RotoPaint node, and use it for regraining.
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|
|
3. The Keylight KeyerBasic compositing| 00:01 | Keylight is a color difference keyer
developed by the computer film company that
| | 00:05 | is distributed and supported by the
Foundry and is now available for Nuke.
| | 00:10 | We'll start by setting up a basic composite.
| | 00:14 | You can pull in these two
elements from our Keylight media file.
| | 00:18 | So, we'll select the green screen boy, come up
to the Keyer tab, and select the Keylight node.
| | 00:26 | Keylight hooks into the source input,
which is where the green screen goes, and
| | 00:30 | then we hookup the BG input to the background.
| | 00:34 | The first step in Keylight is to tell
it what the backing color is, what they
| | 00:37 | called the screen color, and
here is the screen color here.
| | 00:41 | First, we turn on the eyedropper, make
sure that's turned on, and then in the
| | 00:45 | Viewer, Command+Click to select the color.
| | 00:48 | Now, Keylight is twitching, because
it's actually sampling the output of
| | 00:53 | Keylight, which is being
changed based on my selection.
| | 00:56 | So, we have to use the Nuke keys Alt+
Command in order to sample the incoming
| | 01:02 | image that is directly off the
source image right here, okay.
| | 01:05 | Of course, if we want to sample a box,
we'll do Shift+Alt+Command like this.
| | 01:10 | Of course, if you are using a
Windows machine or a Linux machine you'll be
| | 01:16 | using Ctrl instead of Command.
| | 01:18 | When you select the screen color, you
are selecting a single RGB value, even if
| | 01:24 | you use the sample rectangle.
| | 01:27 | It's simply taking the average of
all the pixels inside the rectangle.
| | 01:30 | Now, to make sure that you don't
disturb your selection you can turn the
| | 01:34 | eyedropper off and that way you won't
accidentally change your screen color.
| | 01:40 | So, when you first start, the View
is set to the Final Result and this is
| | 01:44 | Keylight speak for the premultiplied output.
| | 01:48 | If you want an Unpremultiplied
Output, you would turn this on.
| | 01:52 | Let's take a look at the View popup menu.
| | 01:54 | There are a lot of different views here.
| | 01:57 | The Source is the incoming green screen image.
| | 02:01 | The Source Alpha means
| | 02:03 | show me the alpha channel of
the incoming green screen image.
| | 02:07 | Now here there is an issue.
That is not the alpha channel.
| | 02:11 | If we hook the viewer directly up to the
green screen and then switch the viewer
| | 02:15 | to the alpha channel,
| | 02:17 | you can see this is a typical three
channel green screen image with a black
| | 02:21 | alpha, but yet somehow Keylight
thinks that it is white. Okay?
| | 02:29 | So, if the source input has no alpha.
| | 02:31 | Keylight will tell you
the alpha channel is white.
| | 02:34 | However, if the incoming image is a
four channel image, and I'll fake that
| | 02:38 | here by putting this in line,
| | 02:40 | I've now added a real alpha
channel with some content.
| | 02:44 | Keylight sees that and
passes it through correctly.
| | 02:47 | But if it's a three-channel image,
just remember Keylight will tell you it's
| | 02:51 | white when it's not.
| | 02:54 | The next view we'll take a
look at is the Screen Matte.
| | 02:58 | The Screen Matte is in fact the matte
that is created by Keylight, and there are
| | 03:03 | lots of other things to see in the viewer.
| | 03:04 | For example, the Inside Mask and Outside
Mask, these are the holdout and garbage
| | 03:09 | masks which we'll take a look at later.
| | 03:12 | The Status is a very
interesting and important view.
| | 03:16 | The Status sorts all of the pixels
of the matte into three categories:
| | 03:20 | 100% solid or white, 100% transparent
or black, and everything else, all the
| | 03:28 | semitransparent pixels,
are simply set to 50% gray.
| | 03:32 | This is a diagnostic view that
will help you later. We'll see how.
| | 03:38 | The Final Result as we saw
before is the premultiplied output.
| | 03:42 | Don't forget about the Unpremultiply option,
and then there is of course the Composite.
| | 03:47 | In the next video we'll
learn about the Screen Controls.
| | Collapse this transcript |
| Using the Screen controls| 00:01 | Now, we'll take a look at a couple
of more screen controls right here for
| | 00:04 | adjusting our matte.
| | 00:06 | Let's set the Viewer back to Screen Matte,
because again, this is the key that's
| | 00:11 | being created by Keylight.
| | 00:13 | Screen Gain is a contrast adjustment.
As I turn that up, I am clearing out a lot
| | 00:18 | of the noise, but I am also
destroying edge detail. Look at here, okay.
| | 00:25 | I'll reset that back to default.
| | 00:28 | Screen Balance is adjusting the
internal Keylight algorithm for the two
| | 00:33 | secondary channels in the key.
| | 00:35 | If it's a green screen, the two
secondary channels would be red and blue.
| | 00:39 | On a blue screen, the two
secondary would be red and green.
| | 00:43 | So, it's adjusting the balance between
the other two in pulling the original key.
| | 00:48 | This particular example doesn't have
any problem, but I'm going to go back
| | 00:52 | to the Final Result.
| | 00:53 | I am going to slide in a little thing
here that is going to introduce this color
| | 00:58 | swatch in front of the boy, and
this will give the keyer a problem.
| | 01:03 | Now, let's go back and look at our
Screen Matte and sure enough, we have a
| | 01:07 | semi-transparent region here, which
can be fixed by adjusting the Screen
| | 01:12 | Balance until it's gone. Ooh, is it gone?
| | 01:16 | Well, let's check the Status.
| | 01:19 | No, it's still there, all right.
| | 01:20 | So, I am going to use the Status to just
inch up my adjustment until it just disappears.
| | 01:26 | Bang! Okay.
| | 01:28 | Now, we'll go back to Screen Matte,
and we have a nice solid core matte.
| | 01:32 | I am going to take my little Screen
Balance node out of the node tree, and
| | 01:38 | restore Screen Balance back to default.
| | 01:41 | Next is the Alpha and Despill biases.
| | 01:44 | We'll take a look at these
two biases a little later.
| | 01:47 | The last is the Screen PreBlur.
| | 01:49 | This is applying a blur to the
original green screen before it pulls the key.
| | 01:55 | Its main use is if you don't have a
good de-grain tool, it'll knock some of the
| | 01:59 | grain out of the picture.
| | 02:01 | We'll zoom in here and see how grainy this is.
| | 02:04 | If I apply the Screen PreBlur, it's
actually again blurring the original green
| | 02:09 | screen before pulling the key.
| | 02:11 | Of course, if you have some good grain
control tools, you would much rather use those here.
| | 02:15 | So, we'll set that back to
default and re-home the viewer.
| | 02:21 | A tip on the Screen Color issue,
let me re-enable the eyedropper, is by
| | 02:25 | pulling several different samples you can
actually find a spot where you get your best key.
| | 02:30 | Okay, so always try several different places.
| | 02:33 | Keep in mind though, as you are
getting a better and better key, you might be
| | 02:36 | degrading your edges.
| | 02:38 | For example, look at this little edge
here. If I sample in this region, I get
| | 02:42 | more edge detail, than if I
sample over in this region.
| | 02:47 | Next, we'll take a look
at the Screen Matte menu.
| | Collapse this transcript |
| Using the Screen Matte controls| 00:01 | Now, let's talk about the Screen Matte menu.
| | 00:04 | This popup menu contains additional
controls for refining the screen matte or the key.
| | 00:10 | Clip Black pulls down on
the black part of the picture.
| | 00:14 | So, if I click and drag right, you see
I am inching this up to the right.
| | 00:19 | It's increasing the contrast though, but
just by pulling down on the blacks only.
| | 00:23 | Of course, as you know, I'm
losing edge detail as I do that.
| | 00:28 | As I back this in, you can see the edge
detail coming back. Restore that to default.
| | 00:33 | Clip White pulls up on the whites
and you can see that here, as I inch this
| | 00:39 | down, it's making the matte
harder and harder in the core.
| | 00:44 | But it's also expanding the core matte
into the corners of this fine detail here.
| | 00:48 | If I set that back to default,
you can see the effect that has.
| | 00:53 | Clip Rollback is a modifier
for the Clip Black and White.
| | 00:57 | I am going to throw in a
little bit of Clip Black.
| | 01:00 | You'll notice how it has degraded the edges.
| | 01:02 | But as I adjust Clip Rollback it attempts
to restore some of the detail in the blacks.
| | 01:08 | I'll restore the Clip Black, I'll reset
the viewer, and we'll zoom into this area
| | 01:13 | here to show a Clip White Rollback.
| | 01:16 | We'll use this region here to
look at the Clip White Rollback.
| | 01:19 | If we look at the green screen, the
source, we can see this is supposed to be a
| | 01:22 | semi-transparent region.
| | 01:24 | So, we'll go back to our Screen Matte.
| | 01:27 | If I adjust the Clip White, it starts to
fill it in solid, then I can adjust the
| | 01:32 | Clip Rollback to push it
back to semi-transparent.
| | 01:36 | Okay, we'll set the Clip Rollback
to default as well as the Clip White
| | 01:40 | and rehome the viewer.
| | 01:42 | Now, let's take a look at Screen Dilate.
| | 01:44 | It does just what you expect.
| | 01:46 | It will do a dilate or an
erode on the finished key.
| | 01:50 | So, we can dilate it or erode it.
| | 01:53 | We set that back to default.
| | 01:56 | Screen Softness applies a
blur to the finished key.
| | 01:59 | Dilate that in and our
key gets softer and softer.
| | 02:03 | Again, this is entirely
different than the Screen PreBlur.
| | 02:07 | This applies a blur to the green
screen and then the key is pulled on the
| | 02:11 | filtered green screen. This is
applying a blur to the finished key.
| | 02:15 | Next, Screen Despot Black and White.
We'll take a look at White first.
| | 02:21 | First, we'll zoom in here to get a close look.
| | 02:23 | So, I've got these white
pixels here in the black zone.
| | 02:27 | I might even adjust the
Screen Gain to get rid of them.
| | 02:29 | But if I adjust the viewer gamma
I can see that they're still there.
| | 02:36 | So, if you want to get rid of the white
flecks in the black regions, that's what
| | 02:41 | the Despot White is for.
| | 02:43 | As, we will roll that up, boom! They disappear.
| | 02:47 | I think it's applying a median filter.
| | 02:49 | We'll reset that back to default,
reset the viewer gamma back to default
| | 02:55 | and rehome the viewer.
| | 02:58 | The Screen Despot Black does the same
job, but for those black peppery pixels
| | 03:02 | you get inside your solid
core, typically from grain.
| | 03:06 | Now, this particular picture
doesn't have that problem, so I'm going to
| | 03:09 | introduce it with this and now I've
got grain holes all over my core matte.
| | 03:15 | So, I am going to adjust Despot
Black and make them go away, okay.
| | 03:20 | All right, I'll restore Despot Black to
default, rehome the viewer, and remove
| | 03:27 | my horrible Black Despot node.
| | 03:30 | The last two items, Screen Replace
and Screen Replace Color, we'll take a look at shortly.
| | Collapse this transcript |
| The Crop feature| 00:01 | You can add holdout and garbage mattes to
Keylight as well as crop the green screen.
| | 00:06 | You can play along too by getting these
two images out of the Keylight media folder.
| | 00:11 | The Crop feature in Keylight is mainly
used when you have a situation like this
| | 00:15 | where the green screen
doesn't fill the entire frame.
| | 00:18 | So let's take a look at how it's used.
| | 00:21 | With this selected, we will go to the
Keyer tab, add the Keylight mode and it
| | 00:26 | hooks into the Source input
and hookup the background input.
| | 00:33 | Now unfold the Crops menu and here
we set the Left, Right, Top and Bottom
| | 00:37 | margins of the crop, the color of the
crop and how are we going to do the crop.
| | 00:41 | I will start by setting the
Edge Colour to a bright red.
| | 00:45 | That will make it easier to follow.
| | 00:48 | I move the Left slider here to define
the left edge of the crop, and the Right
| | 00:52 | slider to move the right edge of the crop
and of course we have a Bottom and Top slider.
| | 00:57 | The idea is to set the Edge Colour to
match the color of the green screen and
| | 01:02 | we can do that by turning on the
Eyedropper and doing the Alt+Command+Click and
| | 01:07 | that of course will flood-fill the colored edges
with the same color you pick off the green screen.
| | 01:12 | You can also open the color picker
and dial in any color that you want.
| | 01:19 | So we will close that, and now let's pull a key.
| | 01:22 | We will select the Screen Colour
eyedropper, we will do Shift+Alt+Command to
| | 01:27 | drag a color sample box and
put that into the screen color.
| | 01:31 | I will turn off the Eyedropper
and close the color sample box.
| | 01:36 | At the moment, the method used for the
horizontal crop or the X Method is Colour.
| | 01:43 | Let's switch over to looking at
our Screen Matte to see the results.
| | 01:47 | I can choose one of four methods
for the horizontal crop right here.
| | 01:52 | The default is Colour.
| | 01:54 | If I do Repeat, that means it's going to
take the edge pixels along the crop and
| | 01:59 | just repeat them all the
way to the edge of the frame.
| | 02:03 | If I choose Reflect, it draws a line
down the edge and does a mirror image.
| | 02:10 | If I choose Wrap, this edge is really
been picked up from this corner over here,
| | 02:14 | the whole image was being
picked up and copied over here.
| | 02:17 | Same thing on the other side.
| | 02:20 | You can also set the Y Method for
any one of four techniques you want.
| | 02:24 | In the next video, we will take a look
at holdout mattes and garbage mattes.
| | Collapse this transcript |
| Holdout and garbage mattes| 00:01 | Let's see how Keylight handles
holdout mattes and garbage mattes.
| | 00:05 | We will set the green screen down here
and the background over there, so we can
| | 00:09 | see our connections a little better.
| | 00:12 | For a holdout matte, we use the Inside Mask.
| | 00:15 | I have prepared something right here.
To give you an idea what it looks like,
| | 00:18 | I will hook the Viewer
up to it, okay, all right.
| | 00:19 | Let's go back to Keylight.
| | 00:23 | Now let's pull the key, quick and
dirty, and I will turn off the Eyedropper,
| | 00:31 | clear the box and we will take a
look at the Screen Matte I have.
| | 00:34 | Okay, I have some serious transparency problems
here that I want to cure with a holdout matte.
| | 00:40 | So I have connected the In
Mask to use as the holdout matte.
| | 00:46 | I will go up to the View and say
show me the Inside Mask. Nothing.
| | 00:53 | The reason is I have to first tell
Keylight which component of the Input Mask to
| | 00:57 | use and the default it None.
| | 00:59 | So I am using no component on the Input Mask.
| | 01:02 | If I say Alpha, it's going
to use the alpha channel.
| | 01:05 | I could say Alpha Inverted, or I could
choose the Luminance of the Input Mask or
| | 01:10 | the Inverted Luminance,
but we will stick with Alpha.
| | 01:13 | So this is the Screen Matte, which is
the key created by Keylight and now if I
| | 01:17 | say show me the Combined Matte, I am
going to see the screen the Screen Matte
| | 01:21 | and Inside Mask together.
| | 01:24 | Now let's take a look at a garbage matte.
| | 01:26 | We use the Outside Mask, or the
OutMask to do a garbage matte.
| | 01:31 | Hook that up here. I will hook the
viewer directly up to my OutMask so you can
| | 01:35 | see what I have drawn here.
| | 01:39 | Put the viewer back to Keylight and we
will go up to the View and once again say
| | 01:44 | now show me the Outside Mask and
again nothing, and for the same reason,
| | 01:49 | I have to set the Outside Mask component first.
| | 01:51 | So I am going to select Alpha.
| | 01:54 | Now Keylight wants white in the
garbage matte area, so I need to really
| | 01:59 | select Inverted Alpha.
| | 02:02 | Now the Combined Matte is going to
show me the Screen Matte plus the Inside
| | 02:07 | plus the Outside Mask
altogether in one combined matte.
| | 02:11 | And now we will go to the Screen Gain
and simply dial in for a nice clean matte
| | 02:16 | and switch the View to Composite.
| | Collapse this transcript |
| The Tuning controls| 00:01 | Tuning is the process of adjusting
the matte density individually for the
| | 00:05 | shadow, midtones and
highlight regions of the image.
| | 00:09 | I have made a special tuning test
diagram here and the shadows are the
| | 00:13 | foreground shadows which should be in
this dark area down here, midtones around
| | 00:18 | 0.18 or 0.2, and highlights up here.
| | 00:25 | So the numbers here are designed to
show us the brightness of the foreground
| | 00:28 | elements while we are looking at our matte.
| | 00:30 | So we will unfold the Tuning menu here
and here are three adjustments for the
| | 00:36 | shadows, midtones, and highlights.
| | 00:38 | Now the definition of what a
midtone is, is set right here.
| | 00:43 | The default 0.5 needs to be changed for
Nuke to 0.18, because 0.18 is a 50% gray
| | 00:51 | in Nuke's linear light space.
| | 00:53 | If you had a very dark scene, you
might move the Midtones value down a little
| | 00:57 | bit lower and if you had a very
bright scene, you might adjust it up a bit.
| | 01:01 | But for the most part, a properly
exposed scene, set the midtones at 0.18.
| | 01:07 | Now we will pull a key, Shift+Alt+
Command, and now I will set the Viewer to show
| | 01:14 | us the Screen Matte.
| | 01:15 | I will come up to the Shadow Gain and if
I increase the Shadow Gain, you can see
| | 01:21 | the effect that it has on the matte.
| | 01:23 | I want to toggle that on and off, so
you can see the range that is affected.
| | 01:29 | I adjust the Midtones Gains up and
you can see it's affected a completely
| | 01:32 | different part of the matte.
| | 01:34 | I will toggle that on and off, because
it's affecting just the midtowns, and then
| | 01:40 | I will set the Highlight Gain up here
and toggle that on and off so you can see
| | 01:45 | the range affected there.
| | 01:47 | So you can use the tuning controls
of Keylight to set the matte density
| | 01:51 | separately in the shadows,
midtones and highlights.
| | 01:55 | Next, we will take a look at the Bias controls.
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| The Bias controls| 00:01 | Now let's take a look at Bias.
| | 00:04 | We will start by looking at the Alpha Bias.
| | 00:07 | We'll switch to this picture here,
close that Keylight and open this one.
| | 00:12 | The Bias controls are right here and
they are designed to cope with seriously
| | 00:15 | discolored elements.
| | 00:17 | I didn't have a green screen discolored
badly enough to demonstrate this, so I
| | 00:21 | have just borrowed the one
from the Keylight tutorial.
| | 00:24 | The first one we will look at is the Alpha Bias.
| | 00:27 | If we pull a key, we'll sample our image,
pull our key, switch to the Composite,
| | 00:35 | because of the serious red Bias in the
green screen we got a terrible matte and
| | 00:40 | a semi-transparent composite.
| | 00:43 | The way we tell Keylight about this red
color bias is we turn on the Alpha Bias
| | 00:48 | eyedropper and we do a
sample in the foreground.
| | 00:53 | There, much better.
| | 00:55 | Now, with Keylight, every one of
these samples results in a single value.
| | 01:00 | So if you sample different areas,
you will get different results.
| | 01:03 | So you might look around for
the best overall sample to use.
| | 01:08 | Now we will take a look at the Despill Bias.
| | 01:10 | We will put this one in the Viewer,
close that Keylight, and open up this one,
| | 01:19 | and home the Viewer.
| | 01:21 | The Despill Bias here is designed to
cope with serious discolorations caused by
| | 01:26 | the Despill algorithm in Keylight.
| | 01:28 | So we'll pull a key, and set it for
Composite, and we have this rather
| | 01:36 | discolored hair here and over here.
| | 01:38 | So we will zoom-in a little bit.
| | 01:40 | You will notice the Despill
Bias is ghosted out at the moment.
| | 01:46 | That's because the Use Alpha
Bias for Despill is enabled.
| | 01:50 | This connects the Alpha
Bias to the Despill Bias.
| | 01:52 | If I turn this off, now the Despill Bias
is un-ghosted and can be set independently.
| | 01:58 | This is the way you use it if you
only have a problem in the Despill areas.
| | 02:03 | So I am going to enable the Eyedropper.
| | 02:05 | I am going to use Alt+Command because
I want to sample through to the Source
| | 02:10 | Image, not the Keylight Output.
| | 02:12 | So I am just going to do a little
click and fix, and again, this is very
| | 02:18 | sensitive to where you sample.
| | 02:20 | So if you sample in different areas,
you're going to get wildly different results.
| | 02:24 | So I will put that back where it belongs.
| | 02:26 | You may also open up the Color Picker
and dial-in the color you want this way.
| | 02:32 | Next, we will see how to use
Keylight's Screen Replace function.
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| Screen replacement| 00:01 | Now we can take a look at the Screen
Replace functions in Keylight right here.
| | 00:05 | The purpose of this is whenever the
matte is processed, it can introduce edge
| | 00:09 | discolorations, and this
is designed to address that.
| | 00:14 | Let's take a look at how it works.
| | 00:15 | Let's go to the View and
punch-up the Status Display.
| | 00:19 | You notice that we see the typical status,
pure white, pure black, and some grey pixels.
| | 00:25 | However, when I turn on the Inside
Mask, I get these blue pixels here.
| | 00:31 | This is Keylight telling me that these
pixels were affected by the inside mask.
| | 00:38 | Next, we will turn on the
Outside Mask and those are turned red.
| | 00:41 | That identifies them as being
affected by the Outside Mask.
| | 00:46 | Last, I will adjust the Screen
Dilate and look what happens here. I get
| | 00:50 | these green pixels.
| | 00:52 | This is Keylight telling you that
these edges have been affected by a Screen
| | 00:56 | Dilate operation and now there is discoloration.
| | 01:00 | This is what we're going to fix with
the Screen Replace function right here.
| | 01:04 | We will switch the view to Composite,
and we can see the hideous edge. Of course,
| | 01:11 | this is grossly exaggerated
for purposes of making a point.
| | 01:16 | You would never dilate your screen that much.
| | 01:19 | So those pixels that were marked in
green are now going to be affected by
| | 01:22 | whatever we do here in the Screen Replace.
| | 01:25 | First of all, under the Screen
Replace pop-up we have several choices.
| | 01:29 | Take No Action, which means you are
getting the de-spilled foreground here, which
| | 01:34 | of course outside the
character is going to be black.
| | 01:38 | Use the source image, of course the
original green screen, or use a Hard Color.
| | 01:44 | Now, if you select Hard Color, you
are going to get this color here.
| | 01:48 | Of course we can then turn on the
Eyedropper, and select any color we want from
| | 01:52 | anywhere in the picture.
| | 01:55 | But the Hard Color gives you a solid
color without any difference to the
| | 01:59 | background whatsoever.
| | 02:02 | If you select Soft Color then whatever
color you pick here will be blended with
| | 02:07 | the background based on its luminance.
| | 02:10 | Keylight supports multi-pass keying,
which we will learn about in the next video.
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| Multipass keying| 00:01 | Now, let's take a look at multipass keying.
| | 00:05 | No keyer can give you a perfect comp by
just plugging in the foreground and the
| | 00:09 | background and twiddling the knobs.
| | 00:10 | It's going to take a multipass
approach, so that's what this is about here.
| | 00:16 | Keylight has some multipass functions
built-in. I am going to clear the Property
| | 00:19 | panel and open up this Keylight node here.
| | 00:23 | I am going to pull a core matte on
this Keylight and then feed that to this
| | 00:29 | other Keylight to use in the composite.
| | 00:32 | So, first I'll hold the viewer.
| | 00:34 | Let's pull a quick key,
switch to the Screen Matte.
| | 00:40 | Of course, my purpose here is to
pull a very simple solid core matte.
| | 00:47 | So, I'll adjust the Screen Gain to
clear out the haze. I'll adjust the Screen
| | 00:51 | Balance to get rid of your holes in her shirt.
| | 00:54 | I'll open up the Screen Matte.
| | 00:57 | introduce some black clipping
to get rid of more of the haze.
| | 01:02 | Then I'll go to the Screen
Dilate and dilate down the matte.
| | 01:07 | I'll go back up to the white clip and
kind of fill it in a little bit, here we are.
| | 01:12 | Okay. So, let's say this is the core matte
that I want to export from this Keylight node.
| | 01:19 | The way I tell the node to export the
matte is up here in the View. I set it for
| | 01:24 | Intermediate Result.
| | 01:25 | Now, look at what we have.
| | 01:27 | We have our original green screen and
behind it in the alpha channel is the core
| | 01:33 | matte that I created.
| | 01:36 | So, this is the basic setup.
| | 01:38 | Now, we are going to feed this
image to the second Keylight node.
| | 01:42 | We'll hook in the source here.
| | 01:45 | We'll switch our Viewer over to this
Keylight node, clear the Property panel, and
| | 01:50 | open up the new Keylight node.
| | 01:53 | Next, we'll pull a quick key.
Go look at our Screen Matte.
| | 02:03 | I'll dial down some of that grain, go to
the Black clip, get rid of some more of it.
| | 02:11 | Okay. But my problem is I've got the holes
in the shirt here that I want to fill in
| | 02:15 | with that core matte.
| | 02:16 | So, the first step is to set
the view for Combined Matte.
| | 02:21 | Remember, the Combined Matte is going
to show you the Screen Matte plus any and
| | 02:26 | all other mattes, all combined together.
| | 02:29 | Next, we come down to the Inside Mask
popup menu and make the adjustment right
| | 02:34 | here at the Source Alpha.
| | 02:37 | Don't forget our Source image is the
green screen from the other Keylight node
| | 02:43 | and it's alpha is here,
so that's the Source Alpha.
| | 02:50 | Back to our Combined Matte.
| | 02:52 | So, the Source Alpha at the moment
is being ignored. I want to use it.
| | 02:56 | I want to add it to my key.
| | 03:00 | So, I'll say Add to Inside Mask
and now it's being added to my key.
| | 03:05 | So, this is before and after.
| | 03:10 | Now, let's a look at the Status again.
We'll go to View, checkout Status and now
| | 03:16 | we've got the blue pixels here.
| | 03:18 | This is telling me that this part
of the picture has been modified.
| | 03:23 | Since Keylight initially thought this
part of the matte was semi-transparent,
| | 03:27 | it did a spill operation on it.
| | 03:29 | But now we've filled it in and now we
have to go correct the spill operation
| | 03:35 | that was accidentally done.
| | 03:38 | That's the purpose of the
Inside Replace right here.
| | 03:43 | This is the same type of operation as
Screen Replace up here but this is for
| | 03:47 | when the alpha channel has
been expanded and eroded.
| | 03:51 | This is when the alpha channel has
been modified by the Inside Mask.
| | 03:56 | So, we'll set our View to
Composite so we can watch the action.
| | 04:01 | Again, we have the same options here. We can
say None, no fix at all, or we can say Source.
| | 04:08 | Now, you can see it's pulling in the
Source green screen and you can see how
| | 04:11 | much the spill suppression had pulled
the green out. Or we can say a Hard Colour.
| | 04:17 | Again, we can select that color and click
anything from the screen or use the color picker.
| | 04:25 | Of course, we can also use the Soft
Color option, which blends it in gently.
| | 04:32 | The only left to do is color
correct the foreground, which we will see
| | 04:36 | in the next video.
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| Color-correcting the foreground| 00:01 | Our last subject is to take a look
at doing foreground color correction.
| | 00:05 | So, we'll move over here.
| | 00:08 | Put that in the viewer.
| | 00:09 | Clear the Property panel.
| | 00:12 | Okay, we will hold the Viewer.
| | 00:14 | Now the whole idea about the color
correction with Keylight is, as you know,
| | 00:19 | Keylight has absolutely no
color correcting ability inside.
| | 00:23 | So, we have to do our color
correction outside of Keylight.
| | 00:27 | The way we do that is we set the
output for final result, which is the
| | 00:31 | pre-multiplied output.
| | 00:33 | Don't forget you have the un-
premultiplied option right there.
| | 00:37 | Next, we will add a Grade node
and don't forget whenever you have a
| | 00:41 | un-premultiplied image, you have to tell it.
| | 00:43 | So we are going to say un-
premultiplied by the alpha channel.
| | 00:47 | So, now I am ready to do my color correction.
| | 00:52 | All I have to do is connect to
Merge node. Hook up the Background.
| | 00:58 | We don't need this Merge node anymore
and now I can color correct my foreground
| | 01:02 | outside of Keylight, prior to the composite.
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|
|
4. UltimatteBasic setup| 00:00 | We'll start by taking a look at the
basic setup for an Ultimatte composite.
| | 00:05 | The first thing we want to know is how
to connect things up, so if you'll select
| | 00:08 | the read note for your blue screen, you
can go up to the Keyer tab, select the
| | 00:12 | Ultimatte node, and it'll hook itself
into the foreground input. There we go.
| | 00:19 | The bg is the background input.
| | 00:21 | We'll connect that up here.
| | 00:22 | We'll take a look at this
others in just a minute.
| | 00:24 | Now I'm using a checkerboard as a test
background. I've set the format to match
| | 00:29 | my foreground image, and I've set
the size of the squares to 16. Using a
| | 00:33 | checkerboard like this is a better
way for getting your initial key setup,
| | 00:37 | rather than doing it over the actual
background, which has different colors and
| | 00:41 | luminosities that may hide defects.
| | 00:44 | So let's take a quick look at
the tabs in the Ultimatte node.
| | 00:47 | The first tab, Ultimatte, is used
basically to set the screen color, and it has a
| | 00:51 | few other controls, which we'll come back to.
| | 00:54 | The Density tab is used to dial in
the density of the matte, and you have
| | 00:57 | controls over different parts of the picture.
| | 00:59 | The Screen Correct node is actually
used to dial in a synthetic clean plate.
| | 01:06 | Ultimatte is much happier with a clean
plate input, but you rarely get that,
| | 01:11 | so Ultimatte actually creates
its own internal clean plate.
| | 01:14 | I can show you what that's like over here.
| | 01:19 | This is what the clean plate would like.
| | 01:21 | The idea is it uses this against the
backing region, the blue screen, and it has
| | 01:26 | a matte of the defects in the funny
panel lightings and all the other little
| | 01:30 | anomalies in scenes like this, and it
uses this to help pull a cleaner key.
| | 01:37 | The Shadows tab is used for dialing in the
shadows, but you will have to enable it first.
| | 01:42 | It comes default disabled.
| | 01:45 | The Spill tab is default-enabled,
and here you have controls over the
| | 01:49 | spill separation for different parts of the
picture: bright, dark, cool, warm, et cetera.
| | 01:55 | The Cleanup tab is a dangerous tab, and
you'll rarely want to mess with this
| | 02:00 | because it'll undo the screen
correction, but this allows you to do post-
| | 02:04 | processing on the matte.
| | 02:07 | The Color tab is used to color correct
the foreground after it's composited over
| | 02:11 | the background, and it gives you basic
color-correction controls: brightness,
| | 02:15 | saturation, and so on and so forth.
| | 02:18 | The Film tab is another
tab you'll rarely mess with.
| | 02:22 | The basic story here is that some blue-
screen and green-screen shots suffer
| | 02:26 | from a problem called cyan undercutting,
where the foreground meets the backing
| | 02:30 | color, and this completes a
red fringe around your composite.
| | 02:35 | This tab is designed to
allow you to dial that down.
| | 02:38 | All right, let's go to the Ultimatte tab
and see how we select the screen color.
| | 02:42 | First, we turn on the
eyedropper and we select the screen using
| | 02:46 | Shift+Alt+Command. In other words
we're adding the Alt key in order to do the
| | 02:51 | sample through to the
original blue-screen plate.
| | 02:55 | Otherwise you could be
sampling the composited plate.
| | 02:58 | I am going to switch the viewer to the
alpha channel, and watch what happens as I
| | 03:03 | sample in different parts of the picture.
| | 03:06 | Remember, Ultimatte is only
allowing you to select one single value for
| | 03:10 | the screen color, so where you
sample has a profound effect on the
| | 03:15 | resulting composite.
| | 03:16 | We'll put that back to RGB.
| | 03:20 | In our next video, we take a look at
the other inputs to the Ultimatte node.
| | Collapse this transcript |
| The Ultimatte workflow| 00:01 | Okay, the cp input,
| | 00:02 | that's your clean plate; gm, that's the
garbage matte; and hidden over here is hm,
| | 00:08 | which is your holdout matte.
| | 00:11 | So how do we use the garbage matte?
| | 00:13 | Well, looking at the original blue
screen, we can see that the blue screen
| | 00:16 | doesn't cover some portions of the background.
| | 00:19 | So we make a garbage matte that covers
that part of the screen that we want to
| | 00:23 | clean up and then we hook that
into the gm, or garbage matte input, of
| | 00:29 | Ultimatte and voila!
| | 00:30 | Get a nice clean plate.
| | 00:33 | The holdout matte here, let's see how
that's used. And we'll look this up here
| | 00:37 | to reveal that, okay. Let's take a look
at the alpha Channel of this gal here,
| | 00:43 | and we can see that her
shawl is extremely transparent.
| | 00:47 | So let's say that we needed to do
a holdout matte to fill that in.
| | 00:51 | So we would draw the holdout matte with a
rotor node and then hook it up to the
| | 00:57 | hm holdout matte input of Ultimatte, and boom!
| | 01:00 | A nice solid matte.
| | 01:01 | Of course you're going to have to
roto that for the whole shawl, but
| | 01:05 | nevertheless, that's how you
hook in your holdout matte.
| | 01:09 | Let's re-home the viewer, go back to
RGB display. So we can take a look at the
| | 01:14 | output mode on the Ultimatte tab.
| | 01:17 | The default output of the node is
composite, the foreground keyed over the
| | 01:21 | background, but you can choose a
premultiplied output. And of course, here, we
| | 01:27 | have the alpha channel.
| | 01:28 | So this is a four-channel premultiplied image.
| | 01:31 | We'll go back to RGB. And you can
choose the unpremultiplied, which of course
| | 01:36 | is hideous and awful, so we'll go
back to the composite, a much nicer-
| | 01:39 | looking presentation.
| | 01:41 | Now let's take a closer look at the
recommended workflow for setting up an
| | 01:44 | Ultimatte composite, plus a
demonstration of what each tab does.
| | 01:48 | I've reset Nuke so we can step through
the recommended Ultimatte workflow and
| | 01:53 | see how the Film tab and overlay features work.
| | 01:56 | Step one, as we saw before, was you
select the eyedropper to sample the screen
| | 02:01 | color. Make certain you
don't sample any of the shadows.
| | 02:05 | So again, Alt+Command+Shift+Drag to
sample the screen color, which then goes up here.
| | 02:11 | Now this is the point where you'd
check for the cyan undercutting.
| | 02:15 | We'll jump to the Film tab, zoom into
a part of the picture, because remember
| | 02:21 | that cyan undercutting will
put a red fringe around things.
| | 02:24 | Now the Film tab doesn't work until you
enable it, and I'll show you how it works.
| | 02:29 | I'm going to punch in a strength of 300
in order to exaggerate the red fringe.
| | 02:35 | So as I toggle this on and off, you
can see that red fringe come and go.
| | 02:39 | You have adjustment to shrink it,
adjustments for transparency, and you can dial
| | 02:45 | it in the brights and the darks individually.
| | 02:47 | So I'm going to disable that so we're
back to our original plate, because this
| | 02:51 | particular one, although it had the red
fringe, it wasn't very severe. So I'll
| | 02:56 | go back to the Ultimatte
tab and re-home the viewer.
| | 03:01 | After you've got your screen color and
done the Film tab as necessary, the next
| | 03:05 | step is to refine the overlay.
| | 03:07 | So let's take a look at the overlay.
| | 03:09 | Here is the overlay pop-up.
| | 03:11 | By default, it's off, but you
can choose screen or subject.
| | 03:14 | Let's start with screen.
| | 03:16 | By the way, there is a
duplicate pop-up list right here.
| | 03:20 | So what the overlay is showing you is
the backing region that Ultimatte is going
| | 03:25 | to repair using that synthetic clean plate.
| | 03:28 | We can refine the overlay by
selecting the plus, and now if we hold down
| | 03:32 | Alt+Command+Click and drag, we're telling
it we want to add this area to the overlay.
| | 03:39 | If part of the overlay covered our
characters or subjects, we could hit the
| | 03:42 | minus key and click and drag to select that.
| | 03:47 | Next, we can set the overlay to subject,
which of course puts the overlay on
| | 03:51 | top of the subject.
| | 03:52 | We can then use these plus and minus
keys to add or subtract the overlay off of
| | 03:56 | the subjects as well.
| | 03:58 | The important thing to realize that
these overlay plus and minus strokes are in
| | 04:02 | fact adjusting the screen-correct parameters.
| | 04:05 | Here I'm going to reset the screen
correct, and I'll set the overlay to screen,
| | 04:10 | and now when I hit the plus key,
watch what happens to the screen-correct
| | 04:14 | parameters. As I click and drag,
you see, the parameters changed.
| | 04:18 | I'll reset that again and show you
that you can actually accomplish the same
| | 04:23 | thing by adjusting the sliders themselves.
| | 04:27 | This slider will shrink the overlay,
and these sliders will adjust it in the
| | 04:32 | darks and the brights, and so on and so forth.
| | 04:34 | I'm going to reset that and dial my
reds back small again, so I can show you
| | 04:40 | the Orphans button. What's the orphan?
| | 04:43 | Let's take a look at some orphans.
| | 04:45 | Orphans are this little leftover bits and
pieces that it wasn't quite able to clear out.
| | 04:50 | So the orphans pop-up allows you to
choose the radius, if you will, of the kernel.
| | 04:56 | So if I set it for Medium, you see
the orphans got smaller. Some went way.
| | 05:00 | If I set it for Fine, they come back, a
little too much, so my best setting is Medium.
| | 05:06 | Okay, we're done with this Screen Correct tab.
| | 05:08 | We'll go back to the Ultimatte tab and
set the overlay to off and home the viewer.
| | 05:15 | Next, we'll take a look at
the Matte tools in Ultimatte.
| | Collapse this transcript |
| Using the matte tools| 00:01 | After you have the overlay adjusted for
the best coverage of the backing screen,
| | 00:04 | the next step is to use the Matte
tools to adjust the matte density.
| | 00:10 | The matte density is adjusted with
the Matte tools and the Density tab.
| | 00:14 | The Matte tools allow you to select
pixels from the screen while the Density tab
| | 00:17 | allows you to adjust the density parameters.
| | 00:20 | We'll start by setting the viewer to
the alpha channel so we can see our matte,
| | 00:24 | and turn the viewer again way down.
| | 00:27 | So we can see we've got some transparency here.
| | 00:29 | This should be a solid matte.
| | 00:31 | So, the way we fix that is we come up
to the Matte Plus tool, meaning increase
| | 00:36 | the matte density, and do an Alt+
Command, click and drag, and viola!
| | 00:41 | Next, we'll turn the viewer gamma up,
so we can take a look over here at the
| | 00:45 | umbrella, which we wanted some transparency.
| | 00:48 | So, if I'd like to increase the
transparency, I will then select the Matte Minus
| | 00:54 | tool and again Alt+Command+Click in
order to say reduce the density of the
| | 01:00 | matte in this area.
| | 01:03 | Okay, I'm going to undo all of that and
home the viewer, so that we can take a
| | 01:08 | look at the Density tab itself.
| | 01:12 | Here's the Density tab, and this allows
you to adjust the density of the matte in
| | 01:16 | different parts of the
picture: bright, dark, warm, cool.
| | 01:20 | For example, the white shawl.
| | 01:24 | If we look at the RGB we can see
this is a very bright object. Oop!
| | 01:26 | Let me put the viewer again down.
| | 01:29 | This is supposed to be a very bright
object, and it's terribly transparent.
| | 01:33 | So I'm going to adjust the brights up
and fill in the shawl. I'll undo that.
| | 01:39 | Now, down here is a Warm parameter.
| | 01:42 | So, if we look at our original picture,
we can see this red shawl, which is a
| | 01:46 | warm color. Watch how it responds to
an adjustment of the warm matte density.
| | 01:51 | I can bring it up or down. I'll reset that.
| | 01:55 | And similarly, the cool over here, the
umbrella, you can see has very cool colors.
| | 02:02 | So, I can lower and raise the density of
the matte in the cool parts of the picture.
| | 02:09 | So, we'll home the viewer, undo all
those adjustments, and set it back to RGB
| | 02:19 | so that we can take a
look at the edge kernel next.
| | 02:22 | Let's zoom in to the picture and look
at the dark edge along side the skirt.
| | 02:28 | Very often you're composite will have
these dark edges from light objects, so
| | 02:31 | the edge kernel can help with that.
| | 02:33 | Watch what happens with that dark
edge as I adjust the edge kernel.
| | 02:36 | See, it pulled it out.
| | 02:38 | Now, let's take a look at the
alpha channel to see what's going on.
| | 02:41 | The edge kernel does a
density change along the edge here--
| | 02:45 | I'll exaggerate it, so that you can see--
| | 02:47 | does that density change along the
edge to help tuck in those dark edges.
| | 02:52 | We'll put that back to
RGB and re-home the viewer.
| | 02:59 | Now that the matte density is set,
the next operation is the shadows.
| | 03:05 | The Shadows tab is only enabled
when there are shadows to process.
| | 03:09 | Now, in this particular clip in order
to actually capture these shadows, you're
| | 03:13 | going to have to split the key,
because this blue screen down here is a very
| | 03:17 | different color than the blue
screen up there. Back to our story.
| | 03:22 | To activate shadow processing, you
select the Shadows tab and turn on enable.
| | 03:28 | Let's set the viewer to the alpha channel,
and we'll zoom in here to see some shadows.
| | 03:33 | We can dial in the shadows first by
increasing the low value up like this, and
| | 03:38 | that brought the shadows in. And just
to show you why you have to have this
| | 03:41 | enabled, you can see the difference in
the matte when the shadows calculations
| | 03:45 | are enabled and disabled.
| | 03:47 | Another adjustments you have is the blur,
which softens the shadows. And to see
| | 03:51 | the tint, we're going to have to go back to RGB.
| | 03:53 | By the way, you can also adjust the
density while you're looking at it in the RGB
| | 03:59 | mode. And the tint will give it a color.
| | 04:02 | So, we'll pop up the color chooser, and
we'll just select the nice red, and there
| | 04:07 | you go. And I'm going to disable the
shadows calculations and reset the Viewer.
| | 04:12 | In the next video, we'll see how
Ultimatte handles spill suppression.
| | Collapse this transcript |
| Spill suppression| 00:01 | With the shadows properly adjusted, we can
now turn our attention to spill suppression.
| | 00:07 | The Spill tab contains all the adjustments for
refining Ultimatte's superb spill suppression.
| | 00:12 | By default, it's enabled.
| | 00:14 | Let's take a look at the umbrella.
| | 00:16 | Since, it's a semi-transparent object, it's
heavily influenced by the spill suppression.
| | 00:21 | First of all, watch what happens when I
enable and disable the spill suppression.
| | 00:25 | By default, the spill suppression is enabled,
and normally you're going to leave it that way.
| | 00:30 | We have adjustments here that can be
used to dial in the spill suppression to
| | 00:34 | either increase it or decrease it in
cool, warm, midtones, brights, darks,
| | 00:38 | any part of the picture you want.
| | 00:41 | Watch what happens when I adjust the cool.
| | 00:43 | Keep in mind that that umbrella
is kind of a cool color, as far as
| | 00:46 | color temperature goes.
| | 00:47 | Now moving it to the right
means I am pulling out more blue.
| | 00:52 | I am increasing the amount of spill suppression.
| | 00:55 | Moving it to the left, I am
reducing the amount of spill suppression,
| | 00:58 | so it turns more blue.
| | 01:00 | I'll set that back to the default.
| | 01:03 | The warm colors, such as these jackets,
| | 01:05 | if I increase the spill suppression I'm
pulling more blue out of them and I go
| | 01:09 | down the other way, I'm adding more blue back in.
| | 01:12 | We'll put that back to default.
| | 01:14 | Similarly, you can adjust the midtones
and the brights. In fact let's
| | 01:18 | take the brights, and see
umbrella is also a bright.
| | 01:20 | So, the umbrella will be affected by
the brights as well as the cool slider.
| | 01:24 | We'll put that back. Ambiance.
| | 01:25 | Ambiance is the spill-replacement
color, and it is by default 0.5, but we can
| | 01:35 | certainly dial that up.
| | 01:36 | I'm going to turn it into heavy red,
just so you can see the effect. And now I
| | 01:42 | can dial all the strength down and up,
and you can see the umbrella picks up
| | 01:47 | more red, turning it white.
| | 01:48 | I'll put that back to
default and reset our color.
| | 01:54 | The background veiling adjustment
overrides the default background suppression,
| | 01:59 | and generally speaking, you
don't want to mess with this one.
| | 02:02 | It will really destroy the spill suppression.
| | 02:06 | If you're working on the spill
suppression and you get things all jacked out of
| | 02:09 | shape and you're lost and confused, just
click the reset button and that puts the
| | 02:13 | entire spill suppression
algorithm back to the default state.
| | 02:17 | We'll home the viewer in order to
take a look at the last tab to adjust,
| | 02:20 | which is the Cleanup tab.
| | 02:22 | Normally, you want to leave
this tab alone. Let's see why.
| | 02:27 | The Cleanup tab is used primarily to
clean up defects in the screen-backing
| | 02:31 | region only after screen
correction adjustments have been exhausted.
| | 02:36 | It's a dangerous tab.
| | 02:37 | So, let's take a look at Cleanup.
| | 02:41 | We'll switch the viewer over to the alpha
channel, and we'll zoom in for a closer look.
| | 02:47 | Watch what happens as I
enable and disable the Cleanup tab.
| | 02:52 | It has a profound effect on the matte.
| | 02:55 | I'll enable it so we can take a
look at each of the adjustments.
| | 02:58 | The Cleanup slider will clear the
noise out of the backing region but at the
| | 03:02 | expense of hardening the edges of the matte.
| | 03:05 | If you lower the cleanup value, you
can actually get it back to looking like
| | 03:09 | your original matte.
| | 03:10 | We'll put that back to default.
| | 03:14 | Let's zoom in under one of the mattes here,
so we can take a look at the shrink parameter.
| | 03:18 | The shrink slider will actually do
an erode in order to shrink the matte.
| | 03:22 | You can see it getting
smaller and smaller there.
| | 03:25 | The blur parameter of course does
a blur on the matte. There we go.
| | 03:30 | And the recover sets a threshold
below which everything is protected from
| | 03:35 | the cleanup processing.
| | 03:37 | I'll home the viewer so
we can see that in action.
| | 03:41 | I'm going to set the recovery slider
higher and higher and all the defects start
| | 03:47 | to work back into the picture.
| | 03:50 | So, setting the recover back to 0
means that all the pixels will be
| | 03:53 | processed with the cleanup.
| | 03:56 | We'll set the viewer back to RGB and
close by reminding you that the Ultimatte
| | 04:01 | keyer is one of the oldest and most
professional keyers in the industry, and
| | 04:05 | does an absolutely brilliant job
at blue-screen and green-screen keying.
| | Collapse this transcript |
|
|
5. Merging KeysOverview| 00:00 | I have said many times that you
cannot expect to plug your green screen or
| | 00:04 | blue screen or background clip into a keyer
node, tweak a few knobs, and get a fine composite.
| | 00:10 | That only works on the demo footage.
| | 00:12 | In the real world you have to pull
multiple keys and merge them together into
| | 00:16 | a single master key.
| | 00:18 | Here we will see a variety of
strategies for creating and combining those keys
| | 00:22 | into a single master key.
| | 00:25 | The reason you want to combine
multiple keys into this master key rather than
| | 00:28 | compositing each keyer output on top
of each other is because that makes a
| | 00:32 | patchwork composite with different
appearances of the spill suppression and
| | 00:36 | color corrections from each keyer node.
| | 00:39 | The Primatte output simply
looks different than Keylight.
| | 00:42 | So let's take a look at the workflow.
| | 00:45 | Starting up here with our green screen,
the first thing we do is pre-process it
| | 00:49 | to set it up for the keyers.
| | 00:50 | One obvious method here
is of course degraining.
| | 00:54 | Down here are the different keyers.
| | 00:56 | These could be completely
different kinds of keyers or the same keyer
| | 01:00 | with different settings.
| | 01:01 | For example, Primatte here optimized
for the head, Primatte there optimized for
| | 01:06 | the body, and maybe Keylight
here optimized for the hair.
| | 01:11 | Down here is where all the keys are
combined to create the single master key.
| | 01:15 | Of course, this is a very complicated
and important thing, so we will be taking
| | 01:20 | a very close look at
those in the upcoming videos.
| | 01:23 | On a separate branch from the green
screen we do the spill suppression.
| | 01:27 | The PreProcess green screen
is never used on this branch.
| | 01:31 | The PreProcessed is
only for pulling keys, okay?
| | 01:35 | So here we do our spill
suppression followed by color correction.
| | 01:40 | Always in that order.
| | 01:41 | You never put the color
correction before the spill suppression.
| | 01:45 | The reason is, if you change the color
correction and then the spill suppression
| | 01:50 | follows it, it will completely
mess up your spill suppression.
| | 01:52 | You'll have to do it all over again.
| | 01:54 | So always in this order please.
| | 01:57 | Here, we are combining the single
master key with our color-corrected and spill-
| | 02:03 | suppressed RGB foreground right here.
| | 02:05 | The reason is we want to put them all
together into a single RGBA four-channel
| | 02:10 | image for the AddMix node.
| | 02:12 | It expects all four
channels right here on the input.
| | 02:14 | We are using the AddMix node because
it has powerful additional features of
| | 02:19 | being able to adjust the
edges with those curves.
| | 02:22 | If you don't need those curves, you
could use a KeyMix node or do a premultiply
| | 02:27 | and do the merge over.
| | 02:28 | We will be looking at those workflows as well.
| | 02:31 | Now that we have an overview of the
general workflow, it's time to take a look
| | 02:35 | at the specific techniques for
creating and combining multiple keys into a
| | 02:39 | single master composite.
| | Collapse this transcript |
| Pre-processing the greenscreen| 00:00 | The first step in the keying process is
to pre-process the green screen or the
| | 00:05 | blue screen, to set it up,
or sweeten it, for the Keyer.
| | 00:09 | I am working with these two pictures
here, the boy and the boy background.
| | 00:13 | If you'd like to load those, you'll
find them in your Project Media, the boy
| | 00:17 | folder. There he is.
| | 00:18 | We've got 12 frames at 1K resolution,
and the Boy background folder, another 12
| | 00:27 | frames at 1K resolution.
| | 00:28 | Okay, like we saw in the overview, we
are going to create a separate branch of
| | 00:35 | the compositing Node Graph right
here that is specifically designed for
| | 00:39 | pulling all the keys.
| | 00:40 | And then we will use a separate branch
over this way using the original green
| | 00:44 | screen for the actual
compositing and color correction.
| | 00:48 | So one of the first things you want
to do for pre-processing it would be
| | 00:51 | something like doing a degrain operation.
| | 00:54 | So I am running NUKEX so that
I have the Denoise node here.
| | 00:58 | So I am going to bring this in,
scooch into my picture, come over here and
| | 01:03 | sample the area of the screen in
order to get some denoise going on here.
| | 01:08 | And just to show you how effective this
is, I am going to gamma down the viewer
| | 01:13 | and then gain it up.
| | 01:15 | So I can toggle the Denoise on and off, and
you can actually see the green come and go.
| | 01:20 | The big issue for degraining is
you want to remove the grain without
| | 01:23 | softening the edges.
| | 01:24 | Of course, you can use any degraining
technique that you might have handy.
| | 01:28 | So we'll toggle that back on.
| | 01:31 | By degraining it, we not only remove
the sizzle that might be in the edges, but
| | 01:36 | it also helps to
eliminate pinholes from the green.
| | 01:38 | I am going to re-home the viewer and
clear the Property bin to go on to the next
| | 01:42 | step, which is garbage matting.
| | 01:45 | Garbage matting is a critical
part about the pre-processing.
| | 01:49 | So let's add a roto node here, and
then I am going to draw my shape here.
| | 02:01 | All right, then, I will go to the Shape
and invert it and then turn on the
| | 02:07 | Eyedropper node to sample the green screen
so I can get a matching green right there.
| | 02:12 | Re-home the viewer, and I am going to
turn off the overlay, so we can see the edge.
| | 02:18 | Now, you don't want a sharp edge like
this, so I like to take all of my Beziers
| | 02:24 | and add a little feather, like maybe 10.
| | 02:26 | And this way we don't have a sharp
edge on either side of the garbage matte.
| | 02:32 | If you leave a sharp edge,
sometimes the Keyer will see it.
| | 02:35 | The main purpose of doing the garbage
matte is if I turn it off, you can see we
| | 02:39 | have these nasty dark edges. And if
you try to adjust the Keyer to get rid of
| | 02:44 | those, you have to hammer the key far too much.
| | 02:46 | So we would much rather just have to
key this area right here and get the rest
| | 02:51 | of this as a freebie from our garbage matte.
| | 02:55 | Now there might be other things that you
could do to pre-process the green screen.
| | 02:59 | You might have to re-register the
channels if they were out of alignment or
| | 03:03 | suppress highlights or any other
operations that are designed to help the
| | 03:07 | Keyer pull a good key.
| | 03:09 | And again, we are going to be pulling
our key on a branch right here, whereas we
| | 03:16 | are going to keep the original green
screen to use for the actual composite.
| | 03:20 | Now that the pre-processing is done,
we are ready to start pulling our keys.
| | Collapse this transcript |
| Creating specialized keys| 00:00 | Now I am not trying to pull great keys
here, as that is a time-consuming process.
| | 00:05 | I'm focusing on showing the workflow
for combining several keys into one master
| | 00:09 | key for compositing.
| | 00:11 | So I'm going to just pull
some quick and dirty keys here.
| | 00:14 | So let's give me a little more table space here.
| | 00:16 | I will select the Roto node.
| | 00:20 | So I am going to use the Primatte
node here to pull a key for the body.
| | 00:23 | Let me reset the viewer back to normal settings.
| | 00:28 | And we will select our background color.
| | 00:30 | Now I better connect my viewer up to
the Primatte node right here. Here we go.
| | 00:37 | Okay, now we will take a
look at the alpha channel.
| | 00:39 | Then I am going to refine this by cleaning
the background noise like so, sample it here.
| | 00:47 | Then I'm going to clean the foreground
noise by sampling here and there. Again,
| | 00:52 | I do not care about the head of the hair;
| | 00:53 | I only care about the shirt, slide my
view again down to make sure I don't have
| | 00:58 | any unnecessary holes in my shirt.
Yes, I do, so clean those up too.
| | 01:02 | All right, again, try to make a good shirt.
| | 01:10 | I don't care about the hair or the head.
| | 01:12 | Set my viewer back to normal and slam
the gamma in the other direction, so now I
| | 01:18 | can clear the backing region, select
BG Noise again, sample there and there,
| | 01:25 | over here, there and there. Okay.
| | 01:28 | Let's say we liked that.
| | 01:29 | We will set our gamma back to normal,
re-home the viewer.
| | 01:33 | So let's say we are happy with the key
for the body and to help keep things clear,
| | 01:38 | let's label the Primatte node body.
| | 01:43 | Next, we will use a different keyer
to pull a key optimize for the head.
| | 01:48 | Let's say that I want to use the
Keylight keyer, okay, hook that up, attach our
| | 01:55 | viewer to it, switch to the RGB
channels, and I will start by selecting the
| | 02:01 | green screen backing color. There we go.
| | 02:04 | We will switch back to our alpha
channel, and now I will start dialing in
| | 02:10 | the Keylight keyer.
| | 02:11 | The important thing is I'm only
concerned with the head region.
| | 02:14 | I don't care if there is
problems down here in the body.
| | 02:17 | This is the beauty of this thing.
| | 02:19 | Well, I will dial up the screen gain a
little bit, and I have still got a little bit
| | 02:23 | of stuff over there.
| | 02:24 | Let me check that I don't have any
holes by raising the viewer gamma, check
| | 02:27 | for holes in he head. That looks good.
| | 02:29 | And then I will lower the viewer gamma,
checking for any other issues. All
| | 02:34 | right, that looks fine.
| | 02:35 | I want to get rid of this over here
because that is part of the head. All right fine.
| | 02:39 | So I will go to the Screen matte,
| | 02:40 | and I will dial in the
black clip to get rid of that.
| | 02:45 | Okay, let's say we are happy
with that as a key for the head.
| | 02:49 | Again, to help keep things clear,
we will label the node head.
| | 02:56 | Okay, now we have a Primatte key for
the body and a Keylight key for the head.
| | 03:01 | Next, we need to combine them some way.
| | 03:03 | So I am going to combine the good
body key with the good head key,
| | 03:08 | and to do that I'm going to use a roto.
| | 03:10 | I'm going to draw a shape around the
head and use that to separate the head and
| | 03:19 | the body and then join them together.
| | 03:22 | Now a very important point is
where you place the split.
| | 03:25 | I'm going to choose to make this
the joining line right across the neck here,
| | 03:29 | because that's easy to hide and easy
to animate. Because we have a moving
| | 03:33 | target, we are going to need a few keyframes.
| | 03:35 | So I want to select right across here
and then around the head, close that.
| | 03:42 | Now if we look at the Roto, we have
this mask and we have our head mask.
| | 03:50 | So the next question is, how do we cut
the head off using this Roto as a mask?
| | 03:55 | For that, we are going to
use the ChannelMerge node.
| | 04:00 | The ChannelMerge node was made for
doing alpha channel manipulations.
| | 04:05 | So I'm going to connect the A side to
the Roto, the B side to my key, and my
| | 04:10 | viewer to the Merge node.
| | 04:11 | Now that does not look very promising yet.
| | 04:15 | What I want to do is I want to keep
the head key that is inside the Roto.
| | 04:22 | Now the problem is these are hooked up backwards,
so the order of connection is very important.
| | 04:26 | So I'm going to switch, instead of A and B here,
| | 04:29 | I want B and A. Okay, you
will see why in just a moment.
| | 04:31 | So I will switch those with Shift+X,
because I want the operation to be A inside
| | 04:39 | of B. So I need the inside operation,
so I will come up here to the operation.
| | 04:44 | Let's set it for inside, and there you have it.
| | 04:47 | I now have the head matte that is
inside the Roto. And I want to use the exact
| | 04:52 | same Roto for the body so
that the seam is always perfect.
| | 04:57 | So next, we need to go over to our body
and get the body key that is outside of
| | 05:03 | the Roto, and for that, we
need another ChannelMerge node.
| | 05:06 | So, go up to the Channels
and select ChannelMerge.
| | 05:10 | Now I want the body outside of the Roto,
| | 05:13 | so I want A outside of B. I will hook
the viewer up to the new ChannelMerge
| | 05:20 | node, and I will set the
ChannelMerge operation to out. There we go.
| | 05:26 | I am going to clear the Property bin,
so you can see we have just the body
| | 05:31 | outside that Roto, and over here, just
the head inside that Roto. And because we
| | 05:37 | used the same Roto for both, we are
guaranteed a perfect match at the seam.
| | 05:43 | So, in order to merge those two keys
together, we are going to use of course
| | 05:48 | another ChannelMerge node.
| | 05:49 | I will come up here to the Channels tab,
select another ChannelMerge, bring it down here.
| | 05:56 | Maybe I will zoom out a little bit.
| | 05:58 | Since we are going to be joining these two
together, the order of connection is not important.
| | 06:03 | So I will just hook these up, connect my
viewer to here, and take a look at what we have got.
| | 06:08 | Whoops! We seem to have a little problem.
| | 06:13 | Right here at the seam, we have our
perfect head key and our perfect body key,
| | 06:17 | but the scene which came from this
Roto and the inside and outside operations
| | 06:24 | here, that's caused an artifact.
| | 06:27 | That's because our operation was a union.
| | 06:30 | The union operation is like a screen operation.
| | 06:33 | This is not the operation we want.
| | 06:35 | So let's take a look at saying plus. There we go.
| | 06:39 | We have now added together the two mattes so
at the split edge they are now a perfect match.
| | 06:45 | You have to be careful
when using the plus operation.
| | 06:48 | Because you can add two mattes together, the
1+1 can then become 2, which you do not want;
| | 06:54 | you always want to keep that.
| | 06:55 | So we are going to sample right down
here and keep an eye on this right there.
| | 07:01 | Make sure that we have not introduced any
code values above 1 in the alpha channel.
| | 07:06 | Okay, that looks great.
| | 07:08 | If we did, we would go up here to
the Color tab and add a Clamp node to
| | 07:12 | take care of it.
| | Collapse this transcript |
| The preliminary composite| 00:01 | The purpose of the preliminary
composite is to hook up the master key to the
| | 00:04 | green screen in the background to see
how things look and determine where the
| | 00:08 | master key needs improvement.
| | 00:10 | So we'll zoom out a little bit, pick our
story up here with the original green screen.
| | 00:15 | We're going to start that
separate branch over here.
| | 00:18 | All of this was our keying down here.
| | 00:21 | And over here we're going to start
with spill suppression, so we'll go up to
| | 00:25 | our Color tab and do a Shift+Click
on HueCorrect, which is a popular
| | 00:30 | spill-suppression tool in Nuke, and hook up
our viewer, and switch the viewer back to RGB.
| | 00:38 | And we'll zoom out so we
can see our spill suppression.
| | 00:44 | So the first step in the spill
suppression is we're going to sample our green
| | 00:47 | screen color, so we'll do
that with a Shift+Ctrl+Drag.
| | 00:51 | The HueCorrect node shows us that
this is the hue that's the green screen.
| | 00:55 | I'm going to use three curves to do
the spill suppression, because I like to
| | 00:59 | spread it out amongst three different processes.
| | 01:02 | If you do all the spill suppression with
one process, it can show artifacts, but
| | 01:06 | if you'll use three of them, you get
little artifacts in different places, and
| | 01:10 | nobody will see them.
| | 01:11 | So I'll select the saturation and the
luminance and the green suppress curves,
| | 01:16 | and I want to shift their control
points right over to the hue that I was
| | 01:19 | supposed to be using.
| | 01:20 | Okay, so now I'll select
the green suppress curve.
| | 01:24 | I'll pull down on that to do
some green suppression here.
| | 01:29 | Then I'll take the saturation curve and pull
down on that to desaturate the picture, okay.
| | 01:34 | And I will go to the luminance curve
and raise that up to put back some of the
| | 01:39 | brightest that we lost
with the green suppression.
| | 01:41 | All right, so let's zoom in and
take a look over what we've got.
| | 01:44 | I've still got a little bit of green
around the edge, so I'm going to select
| | 01:48 | my green suppression curve and shift it towards
the red to kind of cut that down a little bit.
| | 01:54 | And I'm seeing a little bit of a
dark edge over here, so I'll select the
| | 01:59 | luminance curve and move that into the
reds to help eliminate the dark edge.
| | 02:03 | And I will re-home the viewer,
so we can take a look at how our
| | 02:06 | spill suppression looks.
| | 02:07 | The next operation will be color
correction, so let's move things a little bit,
| | 02:12 | get this over here, pull that over there.
| | 02:14 | Let's label this spill suppression.
| | 02:21 | That way we'll always know what it's doing.
| | 02:22 | All right, here is the key
thing about color correction.
| | 02:25 | It must always follow the spill suppression.
| | 02:28 | I am going to select this node, go
up to the Color curve, and select
| | 02:32 | the ColorCorrect node.
| | 02:35 | The reason it must always follow it:
| | 02:37 | if you put color correction first,
then you do the spill suppression;
| | 02:41 | if you make any changes to the color
correction, it'll totally mess up your
| | 02:45 | spill suppression, and you always
make changes to the color correction.
| | 02:49 | So, it's essential that you go spill
suppression first, color correction last.
| | 02:55 | Okay, we're ready to pull our pieces together.
| | 02:59 | Here I have the alpha channel, here I
have the spill-suppressed foreground, and
| | 03:07 | over here I have the background.
| | 03:08 | Ao we are ready to hook
things up in a basic composite.
| | 03:13 | So I've decided to use the AddMix node
for our composite because it gives us
| | 03:17 | much more control over the
edges than any other process.
| | 03:20 | So I'll come up here to the Merge tab
and select the AddMix node, hook the B
| | 03:26 | side up to the background, hook the A
side up to our unpremultiplied foreground,
| | 03:31 | and hook the viewer up to the
AddMix node, and we don't see anything.
| | 03:35 | I'll clear this color sample
box by doing a Command+Click.
| | 03:40 | And here are those extra
curves we get with the AddMix node.
| | 03:43 | We don't have a composite because the
AddMix node expects the alpha channel to
| | 03:47 | be coming in here on the A
side, but that's an easy fix.
| | 03:52 | So what I need to do is introduce
our key behind our unpremultiplied
| | 03:57 | color-corrected, spill-
suppressed foreground, and it's not there.
| | 04:04 | What we want is over here.
| | 04:06 | So here is our key, so all I have to do
is copy it over here using the Copy node.
| | 04:13 | There it is.
| | 04:13 | We'll hook that in here.
| | 04:15 | Now if I look through the viewer, I
have my foreground and my key all together
| | 04:22 | as a four-channel image, and that
goes into the A side of the AddMix node.
| | 04:28 | And now the AddMix node will do a very
nice composite, and I can use the curves
| | 04:32 | to adjust the edges.
| | 04:35 | Another important point about the
AddMix node--let me put that at the top of
| | 04:39 | Property bin--is this
premultiplied option right here.
| | 04:43 | If you turn this on, you're saying
that this is a premultiplied image.
| | 04:48 | If you leave it off, you're saying it is not.
| | 04:50 | Now our image is not
premultiplied, so this is correct.
| | 04:54 | However, if I would like to use a
premultiplied image, I could select the Copy
| | 05:00 | node, come up here to the Merges
tab, and add a premultiplied node.
| | 05:05 | So now I have a 4-channel
premultiplied image coming into the AddMix node.
| | 05:13 | So if I hook that into the AddMix node
and I zoom in close here, I have to tell
| | 05:18 | the AddMix node that the A side is
now premultiplied by clicking this on.
| | 05:23 | And you can see that it
makes a very big difference.
| | 05:27 | Okay, you must always be sure to
correctly set the premultiplied option,
| | 05:32 | depending on the type of foreground you have.
| | 05:35 | Once you get the preliminary composite
setup, the next step is to compare the
| | 05:40 | composite with the original green screen.
| | 05:43 | So I am going to hook up input 2 of
the Viewer to the original green screen.
| | 05:48 | You then toggle between the composited view and
the original view looking to see what is amiss.
| | 05:54 | As you can see, we've lost a lot
of fine detail on these feathers.
| | 05:58 | In a regular composite
usually it will be the hair.
| | 06:02 | So what we need to do is create a
supplemental key that is specifically
| | 06:07 | optimized for just this fine feather
detail and then somehow merge it in
| | 06:12 | with our master key.
| | Collapse this transcript |
| Creating supplemental keys| 00:00 | Comparing the preliminary composite to
the original green screen has revealed
| | 00:04 | the loss of detail in the feathers,
| | 00:06 | so now we have to create a supplemental
key that's optimized for the feathers.
| | 00:12 | So let's scoot in here to our green
screen. And to do that, I'm going to use the
| | 00:16 | Primatte node, so come up to the Keyer
tab, Shift+Click on Primatte. And I'll
| | 00:22 | hook my viewer up by typing 1 on the
keyboard. And we'll start by selecting the
| | 00:28 | background color like so.
We'll switch to the alpha channel.
| | 00:39 | The beautiful part about this is I'm
going to be able to dial in the Primatte
| | 00:42 | keyer for the best possible look for
the feathers and I can ignore everything
| | 00:47 | else in the picture.
| | 00:48 | So let's go on to clean the background
noise. In fact, I am going to push up the
| | 00:54 | viewer gamma so I can see any
contamination in the backing region.
| | 00:59 | So I just want it to be nice right here.
| | 01:01 | I don't care about any of the
stuff over there, no problem.
| | 01:04 | So we'll clean the foreground noise, and
for that I'll push the viewer gamma the
| | 01:09 | other way, so I can see holes in
my core matte, and I'll select this.
| | 01:13 | All right, and again--I'll re-home the viewer--
| | 01:20 | I don't care that the shirt is messed up.
| | 01:22 | I don't care whether there is stuff in
the corner, because I'm only concerned
| | 01:25 | about the best possible matte with the feathers.
| | 01:28 | All right, so let's zoom
back in to the feathers.
| | 01:34 | I want to beef up those dark feathers here.
| | 01:37 | We can them a little bit if we pull up
the viewer gamma, so for that I'm going
| | 01:41 | to use the Matte tool and beef up
that part of matte there, this part over
| | 01:48 | here, maybe a little there, and set
my viewer gamma back to normal, and maybe a
| | 01:54 | little bit up here.
| | 01:59 | Okay, so let's say we like that.
| | 02:01 | The next step is I have to isolate
this part of this key and merge it with
| | 02:05 | the main master key.
| | 02:08 | To do that, I'm going to attach a Roto
node to the Primatte, just by typing O on
| | 02:12 | the keyboard. I'll zoom out a little
bit and I'll draw myself a little shape to
| | 02:21 | isolate the area I'm interested in.
Then of course I'm going to invert the
| | 02:28 | shape and then color it black.
| | 02:30 | So now I've exactly the part of the
picture I'm interested in. I don't care
| | 02:36 | about any other part of this picture.
| | 02:39 | So now the last step is to
merge this with the main master key.
| | 02:43 | Okay, let's clear the Property bin and
re-home the viewer and take a look down here.
| | 02:50 | So my purpose is I want to take this
master key and combine it with that hair
| | 02:56 | key such that I get the best of both.
| | 02:59 | To do that, another ChannelMerge node.
I'll hook up one side here, pull it out a
| | 03:08 | little bit, hook up the other side to my
little hair detail, and then we'll hook
| | 03:16 | the viewer up over to that and switch
to the number one input of the viewer so
| | 03:23 | we can see what we're doing.
| | 03:24 | Now if I toggle the ChannelMerge node
on and off, you see what's happening.
| | 03:31 | I'm losing the master key. What I
really want to see is the difference that
| | 03:35 | my extra key has made.
| | 03:38 | So to do that I'm going to swap the
inputs with a Shift+X. So I'll select the node
| | 03:44 | and type Shift+X on the keyboard
and now the inputs has been swapped.
| | 03:49 | Now watch what happens. When I disable
the node on and off with the D key, I'm
| | 03:53 | seeing now the addition of my
new and improved feather key.
| | 03:58 | Now that we've merged the supplemental
key with the master key, let's take a
| | 04:02 | look at the merge operation
that we're using for this.
| | 04:06 | The operation in the
ChannelMerge node, by default, is union.
| | 04:10 | However, we have several
choices. I might say plus.
| | 04:14 | Well, when I said plus, it kind of
chocked up the core matte there. We'll go
| | 04:20 | back and compare it to
union: the union and plus.
| | 04:27 | Another option would be max,
so let's take a look at the max.
| | 04:32 | So this is giving me the maximum
between the pixels of the supplemental key and
| | 04:38 | the master key, and that
actually looks a lot nicer.
| | 04:44 | We'll compare max to union and union to
plus and plus to max. So let's say max
| | 04:52 | is the best look and
that's the one I want to use.
| | 04:55 | Now I need to use this version of the
matte for my composite, so I'll just move
| | 05:00 | the alpha channel from this Copy node to here,
| | 05:03 | switch my viewer over to the AddMix
node, switch to the RGB channel so I can
| | 05:09 | see my composite, and now I can
toggle this node on and off to see the
| | 05:14 | improvement that I've made.
There, much more hair detail.
| | 05:19 | Now that we have everything hooked up
and working, we could introduce some
| | 05:21 | additional processing if we wanted to
on the hair matte, like blurs and dilates
| | 05:25 | and anything like that, to refine
just the feathers for optimal look.
| | 05:31 | Okay, we're ready to do our color
correction now, so let's pull down here,
| | 05:36 | get the ColorCorrect node opened up, home
the viewer so we can see the whole thing.
| | 05:44 | Keep in mind that the ColorCorrect node
is on the unpremultiplied image, so we
| | 05:48 | would not set the ColorCorrect node
here for unpremultiply; that would be wrong.
| | 05:55 | So we'll go back to our ColorCorrect
node, we'll reconnect to our composite so
| | 06:00 | we can watch our color correction in context.
| | 06:03 | I don't want to spent a lot of time
color correcting, so I'm just going to tap
| | 06:06 | up the gamma a bit and then inch up the gain
so our boy kind of pops out of the picture.
| | 06:12 | Now that we've assembled the master
key by combining several different keys
| | 06:16 | from different keyers, we can explore
some alternate workflows beyond just the
| | 06:20 | AddMix node.
| | Collapse this transcript |
| Alternative workflows| 00:01 | While the AddMix node is a
favorite for blue screen and green screen
| | 00:03 | compositing, because of the added
edge control, it's not our only choice.
| | 00:08 | Since we have here the pre-multiplied
foreground, we now have a four-channel,
| | 00:13 | pre-multiplied image. That means I
could use the Merge node, because the
| | 00:18 | Merge node expects a four-
channel, pre-multiplied foreground.
| | 00:22 | So I'm going to type M on the keyboard
to select a Merge node, hook that up to
| | 00:28 | the pre-multiply, hook the B side up
to the background, and switch my viewer
| | 00:35 | over to the Merge node.
and there is my composite.
| | 00:38 | An important common feature of the
Merge node and the AddMix node is they both
| | 00:42 | output the alpha channel after the composite.
| | 00:45 | There is the Merge node,
and there is the AddMix node.
| | 00:48 | However, the next node,
the KeyMix node, does not.
| | 00:53 | I'll put my viewer back to RGB, and
let's go get a KeyMix node and see why.
| | 01:00 | From the Merges tab, we'll get a KeyMix node.
| | 01:02 | Now the KeyMix node expects the alpha
channel or the key to come in on the mask
| | 01:07 | input, so we'll hook that up here,
because this is our master key.
| | 01:13 | On the A side it wants the un-
premultiplied color-corrected foreground.
| | 01:18 | We will hook that up there, and I'll hook
the viewer up to KeyMix node. There we go.
| | 01:25 | The B side goes directly to the
background, and there is our composite.
| | 01:31 | I'll select the Merge node and connect
it to the second input of the viewer, and
| | 01:35 | as I toggle between the two inputs, you
can see that the composite is absolutely
| | 01:39 | identical, because these
are mathematically equivalent.
| | 01:44 | However, the KeyMix node does not
output the alpha channel like the Merge node
| | 01:49 | and the AddMix node.
| | 01:51 | I'll put my viewer back to RGB. And of
course, the KeyMix node has absolutely
| | 01:57 | no adjustments at all.
| | 01:59 | Since no one keyer can really do the
job alone, this technique of combining
| | 02:04 | multiple keys into a master key is the
proven approach to divide and conquer your
| | 02:08 | blue screen and green screen composites.
| | Collapse this transcript |
|
|
6. The GridWarp NodeWarp NodeEditing control points| 00:00 | In Nuke 6 the GridWarp node
received measure improvements in both new
| | 00:05 | features and stability.
| | 00:07 | It can be used to both warp
images as well as do morphs.
| | 00:10 | The GridWarp node is best suited for
situations where you don't need a great
| | 00:14 | deal of fine control.
| | 00:16 | For those situations, you'll
want to use the SplineWarp node.
| | 00:20 | To see how the GridWarp node
works, let's load an image.
| | 00:23 | So we'll punch up our Read node and
we'll select our Project Media and look for
| | 00:28 | the purple face and open that, hook it
up to our viewer by typing 1, and I need
| | 00:36 | a little bit more viewer space, so I'm
going to make the viewer a little larger.
| | 00:42 | To attach the GridWarp node, we select
the Read node, come up to the Transform,
| | 00:46 | tab and slide down to GridWarp.
And I'm going to push in a bit on this.
| | 00:52 | We don't need the Read node property
panel so we'll close that. Over here of
| | 00:57 | course is the GridWarp property panel.
| | 01:00 | Over here on the left,
there is a new set of controls.
| | 01:03 | These are for changing the GridWarp itself.
| | 01:07 | Up across the top, these control
the warping, and morphing, animation,
| | 01:09 | and other effects.
| | 01:10 | We'll take a closer look at
both of those a little later.
| | 01:14 | Well, let's start by editing a control point.
| | 01:17 | All you have got to do is click
and drag on the control point.
| | 01:21 | You can also adjust the spline
tangents, the control handles.
| | 01:24 | If I click and drag on the
handle, I can pull it out.
| | 01:29 | I can rotate it.
| | 01:31 | I can rotate the other one. With a
Shift+Click+Drag, both tension handles
| | 01:36 | are adjusted the same.
| | 01:37 | A Command+Click will break the tangency.
| | 01:41 | To put it back, right-mouse on the
control point and select the Smooth option,
| | 01:46 | and that puts the tangents back.
| | 01:49 | I'll click off to the side to
deselect that control point.
| | 01:52 | If you disable the node with the D key,
you can see your warp come and go.
| | 01:57 | You also might want to put the cursor
in the viewer and type the O key to get
| | 02:00 | rid of the overlays and disable the GridWarp
node so you can see your warp even better.
| | 02:05 | I'll turn the Overlays back
on by typing O in the viewer.
| | 02:09 | You can also use the same 10 key pad
nudge for these control points as you can
| | 02:14 | in the RotoSpline node.
| | 02:15 | So let me zoom in to this control point.
| | 02:18 | I'll select the point and on the 10 key
pad, put your middle finger on the number
| | 02:22 | 5 and the 8 key is right above it, so
if you go 8, 8, 8, 8 you're going to go up.
| | 02:28 | 4, 4, 4, 4, you're going to go left.
| | 02:31 | There are also two modifier keys.
| | 02:34 | Hold down the Shift key and go Shift+8,
Shift+8, Shift+8 to go up; and Shift+4,
| | 02:40 | Shift+4, Shift+4 to go left, because
the Shift key does a 10-pixel jump.
| | 02:45 | Holding down the Command or Ctrl key
actually reduces the precision, so we get
| | 02:49 | 1/10th of the pixel per poke.
| | 02:51 | I'll we re-home the viewer and
click off to the side to deselect.
| | 02:55 | Another important control is
the Resize to Image button.
| | 02:59 | That amounts to a reset, so that will
reset the grid back to the default position.
| | 03:04 | And I'm going to zoom back in to
the viewer for another closer look.
| | 03:08 | Another important new feature is the
Transform controls. Again, just like in the
| | 03:13 | Roto node, if you select several
control points, like this, you'll get the
| | 03:19 | Transform control and in the
middle, this will give you a translation.
| | 03:25 | You can of course do a constrained scale
in X, a constrained scale in Y, or scale
| | 03:32 | the Y and the X at the same time.
And you can even rotate them.
| | 03:36 | I'll click off to the side to deselect
and click on Resize Image to reset the
| | 03:42 | GridWarp back to default.
| | 03:43 | One other important control point
editing feature is the Curve Editor.
| | 03:48 | You can select a point, right-mouse pop-
up on that point, and select Curve Editor.
| | 03:53 | Now you can put in just the position
of that point or its tangents, or both.
| | 03:59 | For simplicity, we'll just
look at the position. Select that.
| | 04:03 | It jumps down here into the Curve Editor.
| | 04:05 | I'm going to float the Curve
Editor so we can get a better look.
| | 04:11 | So starting at the top of the Curve
Editor is the GridWarp node itself.
| | 04:14 | We'll unfold that, and that's our
destination grid, which is what we're working
| | 04:18 | on, then the Curves. This is row 3, column 3,
and there is our position X, Y for that point.
| | 04:26 | So now I can go into the Curve Editor
and if I move this curve up and down, I'm
| | 04:31 | moving the horizontal
position, or the X position.
| | 04:34 | This curve is the Y position.
| | 04:37 | And of course, if I had keyframe
animation, I would have control points over the
| | 04:39 | whole length of the shot.
And we'll close the Curve Editor.
| | 04:43 | Now that we know how to edit the
control points, let's take a look at how to
| | 04:47 | edit the WarpGrid itself.
| | Collapse this transcript |
| Editing the warp grid| 00:01 | I've reset the GridWarp
node for the next subject.
| | 00:03 | The GridWarp itself can be edited to
add gridlines where you need them and
| | 00:07 | remove gridlines where you don't need them.
| | 00:10 | The entire GridWarp can also be resized
to only affect one small part of the image.
| | 00:15 | Let's see how it works.
| | 00:17 | If I want to insert a gridline, I
come up to the Insert tool right here.
| | 00:22 | Notice how the grid is turned white.
And now I can move in here and wherever I
| | 00:27 | place it, this is going to
insert a gridline horizontally.
| | 00:31 | And since I'm still using the tool, I
can move over and add another gridline
| | 00:36 | vertically. And I'm still using the
tool, so I could add another one over here.
| | 00:41 | When I'm done, I have to go
back to the Selection tool.
| | 00:45 | I can also delete lines.
| | 00:47 | I pick the line Delete tool, come over
here, and click on this one to delete it,
| | 00:52 | and that one to delete it, and
go back to the Selection tool.
| | 00:58 | To see how we might use that, let's
set the GridWarp node back to default.
| | 01:04 | Let's say I wanted grid control points
right on his eyes. Well, these control
| | 01:07 | points are off a little bit.
| | 01:09 | So I'll go to the Gridline Insert,
insert a line right here where the eyes are,
| | 01:16 | and then a vertical one right there
and another vertical one right here. Then
| | 01:21 | I'll go to the Gridline Remove tool,
take away the old ones here, the old
| | 01:27 | one there, and the old one over there,
and then go back to the Selection tool
| | 01:33 | and now I've got GridWarps
exactly where I need them.
| | 01:39 | Again, cursor in the viewer, type O
to turn off the Overlay. And to see the
| | 01:44 | effect come and go, just disable
and enable the GridWarp node itself.
| | 01:49 | I'll re-enable the GridWarp
node and restore the overlays.
| | 01:53 | Sometimes you'd like to apply a
GridWarp to just one small part of the picture,
| | 01:58 | so to do that, we'll use the Boundary tool.
| | 02:00 | I'm going to reset this back to
default and push into the ear here, and here
| | 02:08 | is the Boundary tool.
| | 02:09 | I don't exactly agree with this name,
because what this really does is it draws
| | 02:13 | a brand-new local
GridWarp, not just a boundary.
| | 02:20 | Push it a little bit more. So as you
can see, the main GridWarp has been
| | 02:24 | replaced by this local GridWarp.
| | 02:27 | And now we can adjust just this part of
the picture without affecting any other part.
| | 02:33 | There I've applied a warp to this ear.
| | 02:36 | I'll deselect, I'll turn off the
overlay, and I'll toggle with disable on and
| | 02:42 | off for the GridWarp node.
| | 02:44 | So for we've been using a static grid,
but there are many times when you'll want to
| | 02:48 | animate the GridWarp, so
let's take a look at that next.
| | Collapse this transcript |
| Keyframe animation| 00:01 | I've reset the GridWarp node
again to show you keyframing.
| | 00:04 | The GridWarp node has all of the
keyframing capabilities you would expect:
| | 00:08 | insert and delete keyframes, copy and
paste, but with one really cool feature that
| | 00:13 | you might not expect.
| | 00:17 | First of all, here's the Autokey button
right here. By default that's on, so any
| | 00:22 | time you touch any control
point, bang, you have a keyframe.
| | 00:25 | Shows up on the timeline, and it also
shows up over here in the Destination grid.
| | 00:31 | Here we have the keyframe buttons: jump
backwards or forwards to the next keyframe,
| | 00:36 | insert a keyframe, delete a keyframe,
and here's the Copy and Paste keyframe
| | 00:40 | buttons. So let's see how they work.
| | 00:42 | I'm going to undo that little change,
so now I have no keyframes on my
| | 00:47 | destination grid anywhere, and I'm
going to simply say plus to add a
| | 00:52 | keyframe right there.
| | 00:54 | So frame1 has a keyframe
with no change to the grid.
| | 00:58 | Next, I'll come out here to frame40, and
I'm going to select these guys here, and
| | 01:06 | I'll just do a little gag like this,
so I now have a keyframe at frame40,
| | 01:11 | and of course, it's going to
interpolate those keyframes. And of course, here's
| | 01:15 | you jump forward and jump
backward to keyframe buttons.
| | 01:21 | So next I am going to move the
playhead to frame 60 and by clicking on the
| | 01:26 | plus keyframe button,
| | 01:27 | I'm going to insert a second
keyframe there. And of course, if you want
| | 01:30 | to delete a keyframe, put the
playhead on that keyframe and click the
| | 01:34 | Delete Keyframe button.
| | 01:36 | Okay, so now let's say I've got
this cool animation, but when I get to
| | 01:40 | the last frame--I'm going to click
on the last frame button here--
| | 01:43 | I want it to go back to be
identical with the first frame.
| | 01:47 | So here's how we do that.
| | 01:48 | I'm going to move the playhead back
to the first frame by using the Jump
| | 01:51 | to First Frame button,
| | 01:53 | come up to the Destination Grid
keyframe controls, and say copy that keyframe.
| | 01:58 | Now I'll move the playhead to the last frame
in the timeline and click the Paste button.
| | 02:05 | Now I've copied and pasted the
keyframe from frame 1 into frame 100, and now I
| | 02:10 | have this little animation effect here.
| | 02:12 | This will actually be more
fun if I turn off the overlays.
| | 02:19 | Okay, we'll stop that and
turn the overlay back on.
| | 02:22 | Now here is that cool new
feature I told you about.
| | 02:25 | Let me back up to the keyframe on frame 40.
| | 02:31 | Let's say that I needed to add a new
shape change here, something like this.
| | 02:35 | There. So I've added this little chin
drop here on frame 40, but that obviously
| | 02:42 | only affects frame 40.
| | 02:44 | If I jump forward to frame 60, it's
gone, or back to frame1, it's gone.
| | 02:49 | So here is that cool new feature.
| | 02:53 | It's called the Ripple
Edit. By default it's off.
| | 02:56 | So let me undo that little change and
try it again, this time with Ripple on.
| | 03:01 | I'm going to say I want to do a ripple
edit to all the frames for the whole clip.
| | 03:06 | Notice the red border. That's you
sign that you're in Ripple Edit mode.
| | 03:11 | Ripple edit means to ripple whatever
edit I make to the entire timeline, or
| | 03:16 | whatever portion of it I dictate.
| | 03:18 | So I'll select this again, pull it down
again, and since the Ripple Edit was set
| | 03:27 | for All, it's going to be in for all the
frames of the entire timeline. We'll stop that.
| | 03:40 | Now suppose I didn't want it to affect
the entire timeline; maybe I want it to
| | 03:45 | affect it in just one
particular range. No problem.
| | 03:49 | We'll undo that change,
| | 03:52 | jump the playhead to the keyframe on frame 40.
| | 03:55 | This time I'm going to tell the Ripple
Edit to be on a frame range, and I want it
| | 04:00 | to affect from frame 40 to 60.
| | 04:05 | Now when I put in that change, it'll
be in effect between frames 40 and 60,
| | 04:14 | but it'll fall off at the
beginning and the end of the clip.
| | 04:20 | So the ripple edit prevents you from
having to go to every single keyframe in
| | 04:23 | the timeline to enter
that same change everywhere.
| | 04:27 | You can enter it once and propagate
it to whatever frame range you want.
| | 04:33 | Okay, we'll stop this.
| | 04:34 | Now that we've mastered editing and
animating the GridWarp, we can take a look at
| | 04:38 | how to morph between two
images with the GridWarp node.
| | Collapse this transcript |
| Morphing| 00:01 | I've restarted Nuke to
show how to set up a morph.
| | 00:03 | The new GridWarp node makes
it surprisingly easy to do.
| | 00:07 | Let me show you the workflow.
| | 00:09 | In addition to our original purple face,
I've added the new alien face, which
| | 00:13 | you'll find in the same folder.
| | 00:14 | We're going to morph the
purple face to the alien face.
| | 00:18 | In other words, this would be the source,
| | 00:20 | this would be the destination.
| | 00:21 | Just to show you what it looks
like in the viewer, there you go.
| | 00:26 | So first up, I'm going to
zoom out a little bit here.
| | 00:29 | I'll select the purple face, so when
I add the GridWarp node, it'll hook up
| | 00:33 | to the source input.
| | 00:34 | Go up to the Transform tab, add a
GridWarp node, and you'll notice that it
| | 00:39 | hooked up to the source input.
| | 00:42 | The destination input goes to the alien face.
| | 00:45 | Now we're all set up. Let's do some morphing.
| | 00:48 | But first you'll have to switch the viewer
to Input 1 so we can see our purple face.
| | 00:53 | Okay, now I'm going to increase the
size of the viewer, reposition the node
| | 00:58 | graph, and set the viewer
for a nice integer zoom.
| | 01:02 | The first thing I'm going to do is
turn off the Auto key right here.
| | 01:07 | The reason is, these are static images;
| | 01:09 | there'll be no keyframe animation.
| | 01:11 | And if I leave the Auto key on, it's going
to be adding keyframes every time I touch it,
| | 01:16 | and then I'll have to pay very close
attention to where the playhead is.
| | 01:19 | This way I can have the playhead
anywhere I want and it won't affect anything.
| | 01:25 | Okay, let's set up a morph.
| | 01:26 | We'll start with the mouth.
| | 01:28 | We'll do a little zone attack here.
| | 01:31 | So I'm going to add another gridline
here, then return to the Selection tool.
| | 01:37 | The idea is I want to surround the
mouth with control points, so I can adjust
| | 01:42 | the splines accordingly.
| | 01:43 | So I'm going to put the control points
in the corner of the mouth, but you see
| | 01:46 | the mouth is moving.
| | 01:48 | The reason is the output
is set to source warped.
| | 01:51 | I want to set it for source. And
notice that we now have the source grid, and
| | 01:57 | notice up here where it
says Source Grid, it's selected.
| | 02:01 | In fact, every time you change between source
and destination, it'll select the grid for you.
| | 02:06 | See, Destination is visible? And you have
the blue destination grid. Back to source.
| | 02:13 | With the output set to source, the
grid is not going to warp my image.
| | 02:16 | So I'll put these back over the mouth
where they belong, over here in the corner
| | 02:20 | of the mouth. We'll zoom in a bit.
| | 02:26 | Holding down the Ctrl key, I'm going to
adjust the splines to follow the rim of the lips.
| | 02:38 | Okay, let's say that's good enough.
| | 02:40 | Again, I don't want to spend a lot of time
tweaking splines. That's no fun. All right!
| | 02:44 | So I've outlined the mouth for the source.
| | 02:49 | Switch the output to destination.
Identify the same control points and put them
| | 02:55 | in the same relative positions in the mouth.
| | 03:03 | Okay, and then we'll push in a little
bit and I'll adjust my splines. Again,
| | 03:09 | hold down the Ctrl key to give
a break in the tension. Okay.
| | 03:22 | I'll switch back to source.
| | 03:25 | So remember, the red grid is the
source, and destination is the blue grid.
| | 03:31 | In order to actually see the
morph, we have to do three things.
| | 03:36 | First, set the output to morph.
| | 03:40 | Also, we want to put the playhead on frame 1.
| | 03:43 | I want to turn off the grids by
typing O to get rid of the overlay.
| | 03:47 | The second thing we need to do
is animate the warp parameter.
| | 03:52 | With warp set to 1, the image
is getting 100% of the GridWarp.
| | 03:56 | With it set to 0, no warp.
| | 03:59 | So we want to start off
on frame 1 with a warp of 0.
| | 04:05 | So we'll select that, set a keyframe to 0,
move the playhead to the end of the clip--
| | 04:12 | I like to use the End of Clip button
so I don't overshoot or undershoot--and
| | 04:16 | we'll set a warp of 1.
| | 04:19 | And the third thing is to set the mix parameter.
| | 04:22 | So what the mix parameter does is
actually a cross-dissolve between the two views.
| | 04:27 | So we'll set that back to default.
| | 04:32 | Now I'll set the playhead back to
frame 1 to show you an important feature about
| | 04:36 | the mix or the cross-dissolve.
| | 04:38 | You do not want to start the mix
on the first frame of the warp.
| | 04:42 | You want to roll into it
partway, let's say at frame 20.
| | 04:45 | Then set your keyframe here and then
roll towards the end of the clip and before
| | 04:52 | you get to the very end, set your next
control point for 100% dissolve to the B
| | 04:58 | side, or the destination side.
| | 05:02 | This way the last part of the
animation is 100% the destination.
| | 05:07 | And down at this end, the
first part is 100% the source.
| | 05:13 | Okay, we're ready to play
and see what we've got. There!
| | 05:22 | Now we have a morph between the two mouths.
| | 05:25 | Let's take another part of the picture.
| | 05:26 | I'm going to turn the
output from morph back to source.
| | 05:31 | Remember, when you're drawing your splines,
you bounce between source and destination.
| | 05:37 | So I'll go back to source.
| | 05:40 | Let's tackle these eyes next.
| | 05:42 | I'll turn the overlay back on with an O.
And because I'm on the source, it has
| | 05:48 | selected the source grid, so I'm good.
| | 05:50 | I need to insert some more lines,
so I'm going to set a point here and
| | 05:55 | another one over there,
| | 05:57 | and then go select the
Selection tool again. All right!
| | 06:02 | We'll zoom into this eye, and I'll
move my control points where I want them.
| | 06:07 | The key is it's not
where the control points are;
| | 06:10 | it's where the splines go.
| | 06:12 | So I'm going to set these splines to
outline the shape of the eye. There!
| | 06:22 | Okay, now I'll switch the output to
destination, and I have to put these same
| | 06:30 | four control points in
the same relative position.
| | 06:33 | Let me zoom out a little bit,
because this eye is a lot bigger.
| | 06:36 | So this guy goes here, this point here,
that point up there, this point over here.
| | 06:43 | Now it's very important that you
not cross the streams like this.
| | 06:46 | So I'm going to adjust the slope down here so
that the spline lines don't cross. All right!
| | 06:54 | So what I need to do is make
these splines outline the eye.
| | 06:57 | So I'll start here, adjust the tension
like so, come up here, adjust him like that.
| | 07:07 | This one here, we'll pull it down, that one
there, pull that down, and we'll also set
| | 07:14 | the back side of the eye like this.
| | 07:18 | Okay, so I now have outlined the eye
with a set of splines, and we're ready to
| | 07:23 | see the morph between the two eyes.
| | 07:26 | I'll jump the playhead to frame 1, set
the output to morph, and then turn off the
| | 07:32 | overlay, type O on the keyboard. All right!
| | 07:34 | We should get an interesting eye
morph here. Okay, there we go!
| | 07:47 | We've got the source eye morphing
into the destination eye. All right!
| | 07:51 | Let's do the other eye. We'll stop this,
switch the output from morph back to source.
| | 07:57 | Scooch over to the other eye.
| | 08:00 | Turn out Overlay back on
by typing O on the keyboard.
| | 08:03 | Now I'm going to need another set of
control points here, so I'll get my Add a
| | 08:07 | Line tool, click there,
and go back to the Edit tool.
| | 08:12 | Same drill. I'm going to line these
points up to the part of the eye and then
| | 08:17 | adjust the slopes in order to
surround the eye with a spline.
| | 08:29 | I have a little kink here.
| | 08:31 | Let me relax the tension on that kink.
| | 08:38 | Okay, let's say we like that.
| | 08:41 | Now we switch the output to destination.
| | 08:45 | And again, the four control points
have to go to the same correlated
| | 08:48 | positions as the other view.
| | 08:54 | So I'll put this down here, that one
over there, this one up here, that one over
| | 09:00 | there. And then I'll adjust my tensions.
| | 09:04 | So we'll adjust the slope here and
the slope there, get the eye outlined,
| | 09:12 | adjust this tangent here, move this over here,
and I'll get the back of the eye nicely sloped too.
| | 09:23 | Okay, so the spline has now outlined
the eye approximately, and I don't want to
| | 09:28 | spend all day twiddling
splines for you here. All right!
| | 09:32 | So let's say we like that.
| | 09:35 | So we'll put the playhead at the
beginning of the timeline, switch the output
| | 09:38 | back to morph, turn all the overlays off,
re-home the viewer so we have a nice
| | 09:45 | pretty picture, and now
we'll admire the finished morph.
| | 09:49 | And there you have it.
Now we have some dissolvey parts here.
| | 09:52 | That's because I haven't warped that part of
the picture to fit right over the destination.
| | 09:58 | So we could fix that by refining the
GridWarp, but you got the workflow.
| | 10:02 | Okay, let's stop this and turn our
attention to the other tabs in the
| | 10:06 | GridWarp node.
| | Collapse this transcript |
| Additional tabs| 00:01 | There are three other tabs
that we need to check out,
| | 00:03 | plus a quick look at
this background feature here.
| | 00:06 | I am going to go get a CheckerBoard
and hook it up to the BG input.
| | 00:12 | I don't need the
CheckerBoard Property panel anymore.
| | 00:17 | If you select on background, that
means you're selecting this CheckerBoard
| | 00:21 | input, but you don't see anything
until you set the mix value, okay.
| | 00:27 | So this pop-up allows you to choose
black, the source image, the destination
| | 00:30 | image or a background input, but you
won't see anything unless you move the
| | 00:34 | background mix slider.
| | 00:35 | I am going to set the output to Source
in order to show you the Transform tab.
| | 00:40 | Also, I'm going to have to
have to turn the grids on.
| | 00:43 | The Transform tab allows you to do a
translate, rotate, and scale of both grids,
| | 00:48 | either the source or destination.
| | 00:50 | By default, they are locked together.
| | 00:53 | so if you change one, it changes the other.
| | 00:55 | I will put that back.
| | 00:58 | But this button allows you to unlock
the destination from the Source grids.
| | 01:02 | So if I go back to my Grid tab, and I
say I want the output to be the source
| | 01:07 | warped, then on the Transform tab--
remember I have deconnected them right here--
| | 01:13 | I can now do a scale or rotate or
any other thing I want to the grid.
| | 01:18 | Remember, this is going
to be applied to the grid.
| | 01:22 | Back to the GridWarp tab.
| | 01:24 | The Render tab has just
one or two little options.
| | 01:26 | The Submesh Resolution is how much it
subdivides the grid to do the warp. The
| | 01:32 | larger the number the more fine detail
you will get; the lower the number the
| | 01:37 | faster it will render.
| | 01:38 | And the filter of course you get to choose
which kind of filter you would like to use.
| | 01:42 | The Options tab just allows you to
change the color of your grids. In case you
| | 01:46 | are working with blue and red images,
| | 01:47 | you might not want to have
the grids colored blue and red.
| | 01:50 | So there you have it.
| | 01:52 | The new GridWarp node is a huge
improvement over the old one, in both
| | 01:55 | functionality and stability.
| | 01:57 | But as you saw, it's only suitable for
situations where you don't need a great
| | 02:02 | deal of fine control.
| | 02:04 | If you do need fine control, then you
will want to use the SplineWarp node.
| | Collapse this transcript |
|
|
7. The Splinewarp NodeDrawing splines| 00:01 | In Nuke 6, the SplineWarp node also
received major improvements in both new
| | 00:05 | features and stability.
| | 00:07 | Its controls closely follow the Roto
node, and it can be used to warp images
| | 00:12 | as well as do morphs.
| | 00:13 | The SplineWarp node is best suited for
situations where you need a great deal of fine control.
| | 00:19 | For a simpler warp, such as bending part
of one image to fit another, the GridWarp
| | 00:24 | node is easier to work with.
| | 00:25 | So let's get a picture, get our Read node.
| | 00:29 | We will select our Project Media and go
get our friendly purple face, open that
| | 00:36 | up, hook it to the viewer,
and a little more viewer space.
| | 00:39 | Now let's go get the SplineWarp node.
| | 00:43 | We will find it on the Transform tab, all
the way down here right below GridWarp.
| | 00:49 | Hook that in and make sure we have
hooked the Read node up to the source input
| | 00:56 | of the SplineWarp node. And we
don't need this Read node anymore.
| | 00:59 | We will close that Property panel.
| | 01:01 | Okay, the SplineWarp node of course has
a Property panel over here, but like the
| | 01:05 | GridWarp in Roto, it adds
a bunch of tools over here.
| | 01:09 | Starting here at the top, this is
the Selection tool for selecting either
| | 01:12 | splines or control points.
| | 01:15 | This tool is for actually editing the
different control points, add them, delete
| | 01:19 | them, make them smooth, cusp, and as
you can see, to open and close the curve,
| | 01:24 | again, just like the Roto node.
| | 01:27 | Here of course is our actual spline,
Bezier, B-Spline, Elipse and Rectangle,
| | 01:31 | again like the Roto node.
| | 01:33 | Here is something new.
| | 01:34 | This tool is for editing
the correspondence points.
| | 01:38 | The correspondent points define how
the image will be in shifted between the
| | 01:42 | spline, so it correlates this part of
the spline from the source to that part of
| | 01:46 | the spline to the destination.
| | 01:47 | We will see more about that later.
| | 01:50 | And then here is the Pin tool.
| | 01:52 | This is used to pin down a peace of the
image so it is not affected by the warp.
| | 01:56 | Up here, we have mostly visibility controls.
| | 01:59 | We will come back and
take a look at these later.
| | 02:02 | And of course, at the top, this is
your Autokey button, so you will be doing
| | 02:05 | keyframes or not if you turn it on.
| | 02:08 | Turning on the point labels, showing
the transfer handles. Here is the Ripple
| | 02:12 | Edit that we saw in the GridWarp node.
| | 02:14 | We will be using that again here.
| | 02:16 | Here is your Add/Delete Keyframes
which are also duplicated over here.
| | 02:21 | So as you can see, the SplineWarp node
really is a child of the Roto node. Many
| | 02:25 | similarities between the controls.
| | 02:27 | Okay, let's zoom in to the eye here
and take a look at drawing a spline.
| | 02:30 | We will select the Spline tool, click
and drag, click and drag, click and drag,
| | 02:36 | click and drag, and return to close.
| | 02:38 | When you draw a spline, it's
actually drawn two of them.
| | 02:41 | We are looking at the destination spline,
which is blue, and you will see that
| | 02:46 | when you're looking at the source warped.
| | 02:48 | This means show me the
source image that's been warped.
| | 02:52 | This pop-up here shows you the source
image without any warping, and here you're
| | 02:55 | seeing the source spline, which is red.
| | 02:58 | We'll go back to the source warped
and look at the destination spline.
| | 03:04 | You will notice the splines were
identical, and they will be identical until I
| | 03:08 | edit my destination spline like this.
| | 03:11 | And now I'm looking at the source image warped.
| | 03:13 | If I go back to the source image, it's
unwarped, and I'm looking at my source spline.
| | 03:19 | By the way, you can also switch views
over here: source warped and source.
| | 03:25 | We will go back to the source
warped image and the destination spline.
| | 03:30 | Now we can edit these control points
using all the same controls that we do with
| | 03:33 | the Roto node, including, if we
select the bunch of points, we get the
| | 03:39 | transformation, so we can
use that to change them all.
| | 03:42 | Deselect. You also have a similar right
mouse pop-up as the Roto spline on the
| | 03:47 | control point. Click that and you'll get
Cusp and Smooth and Delete and all of those.
| | 03:53 | Now we saw by switching the output to
the source and the source warped, we could
| | 03:57 | see the source and destination splines.
| | 04:00 | There is another option.
| | 04:02 | Up here, this Auto mode can be turned off.
| | 04:05 | With the Auto mode turned on, it shows
the source spline with the source image
| | 04:10 | and the destination spline with the
source warped image automatically.
| | 04:13 | Here, you break that connection and
you can say what you want to see when
| | 04:18 | you want to see it.
| | 04:19 | So with it turned on, it's
going to follow your output choice.
| | 04:24 | With it turned off, you can see
any or all or none of these splines.
| | 04:28 | Now this gives me a chance to
show you correspondence points.
| | 04:33 | See these little lines here?
| | 04:35 | Those are the correspondence lines,
and that means that this point on the
| | 04:38 | source spline will be pushed to
that point on the destination spline.
| | 04:42 | We have a set of tools for
controlling the correspondence points.
| | 04:45 | The Modify allows us to move them, and
you can move them from either side, either
| | 04:50 | spline. Or you can add correspondence
points. You can click on either spline to
| | 04:56 | add the correspondence points or
remove them--again, clicking either place.
| | 05:03 | You can also hide the
correspondence lines if you don't have the
| | 05:06 | Correspondence tool selected. Up
here at the top, this will turn the
| | 05:09 | correspondence lines on and off.
| | 05:11 | Often you don't care where they are
and it will unclutter your screen.
| | 05:15 | Now sometimes you want to just start over,
| | 05:18 | so what you'd like to do is copy the
source shape into the destination shape.
| | 05:21 | Here is how you do that.
| | 05:23 | First, we will select our spline and
then cursor on the spline and not a
| | 05:28 | control point, right
mouse pop-up, and select Copy.
| | 05:32 | And what we want to do is we want to
copy the source spline values, that is,
| | 05:37 | all the control points. Click there.
| | 05:40 | Then cursor back on the spline, not a
control point, right mouse pop-up, paste
| | 05:47 | into the destination value, bang!
| | 05:50 | And now the two splines
are absolutely identical.
| | 05:53 | If we go to Source--let me turn off my Auto
view--we see the source spline and source warped.
| | 05:59 | We see the destination spline,
and the two splines are identical.
| | Collapse this transcript |
| Drawing open splines| 00:00 | Now we have been looking at a closed spline.
| | 00:02 | You can also do an open spline.
| | 00:05 | So I will select the Bezier Spline tool,
click and drag, click and drag, click.
| | 00:10 | To indicate you're done adding points,
| | 00:12 | you can either select another tool or
deselect over here in the layer list.
| | 00:16 | Now we can edit it. So we will go to
the Selection tool, select a line, pull
| | 00:22 | on a control point, maybe adjust
the slope, perhaps tweak the tension, and
| | 00:29 | move a control point down here.
| | 00:31 | Move this up a little bit.
| | 00:32 | Now if we look at the source image, the
source spline is correlating this spot
| | 00:39 | here with this spot there and that spot there.
| | 00:42 | Notice this spot is
right at the tip of the nose?
| | 00:44 | So if I go to source warped, that
spot is still at the tip of the nose.
| | 00:49 | And again, we turn off the Auto
Visibility so we can see whatever splines we
| | 00:54 | want, wherever we want, and turn down
on the correspondents points so we can
| | 00:58 | see the correspondence lines.
| | 01:00 | Now, I am going to turn the viewer
gain down so these are easier to see.
| | 01:05 | And once again, I will adjust the
correspondents points to adjust the nature of the warp.
| | 01:12 | So to hide the correspondence lines,
first, I have to deselect from the
| | 01:15 | Correspondence tool, then I can go up here
in my Correspondence Visibility line will work.
| | 01:20 | I am going to put the Spline
Visibility back to the Automatic mode so it
| | 01:24 | follows whichever source I am looking
at, and we will turn the viewer back to
| | 01:29 | 100% brightness to show you
this, the Visibility button.
| | 01:34 | Turning off the visibility of a
spline means stop doing its warp.
| | 01:39 | It does not make the spline itself invisible.
Okay, it just disables the warp.
| | 01:44 | You can also, if you select more than
one spline, up here, this visibility button
| | 01:49 | will turn off all the splines that you
have selected. Now that we can draw and
| | 01:53 | edit our source and destination splines,
| | 01:56 | let's take a look at three
ways to limit the warping effect.
| | Collapse this transcript |
| Limiting the warp| 00:00 | I've reset the SplineWarp node so we
can take a look at several different
| | 00:04 | ways of limiting the warp effect, so it
could be constrained to just the areas we want.
| | 00:11 | I'm going to start by drawing a warp
around this eye, select the spline, click
| | 00:15 | and drag, click and drag, click and drag,
click and drag, and return to close.
| | 00:20 | Now I drew this on the source
warped, which is the default setup.
| | 00:23 | If I switch the output to the source,
we can see the source spline again.
| | 00:28 | Switch back to the source warped
and there's the destination spline.
| | 00:31 | Now if I edit the destination
spline, I get a nice warp. Deselect,
| | 00:38 | switch back to the source,
and back to the source warped.
| | 00:42 | However, if I want to draw a warp around
this eye, the image is already being warped.
| | 00:49 | In fact, you can see how it's shifting.
| | 00:54 | That's because the warp effect goes
all the way out to the edge of the frame.
| | 00:57 | Now if I try to draw the other eye,
I'm drawing on the warped part of the image.
| | 01:04 | So here's what we have to do.
| | 01:05 | We'll move over here and push into the
other eye, and I'm going to switch the
| | 01:11 | output to the source image.
| | 01:13 | Now I'm looking at the undeformed source image.
| | 01:16 | I'll draw my new spline here.
| | 01:19 | Click and drag, click and drag, click
and drag, click and drag, return to close.
| | 01:24 | Now if we look at the source warped, you
see it's clamped the image there. Watch this.
| | 01:31 | I'm going to hide and show that second spline, and
you can see how it's holding the image steady.
| | 01:37 | Okay, now I'm in the source warped
view, so I'm going to warp this one too.
| | 01:44 | We'll zoom out a bit, toggle the
overlays on and off, and we can toggle the
| | 01:49 | SplineWarp node on and off and you can
see how much it's deforming the image
| | 01:54 | around the eyes, all the way
out here, all the way out there.
| | 01:57 | Again, that's because the spline is
warping the image all the way out to the edge.
| | 02:02 | So this is why we need to be
able to limit the scope of the warp.
| | 02:06 | So we can do that with the boundary spline.
| | 02:09 | I'll turn the overlays back on by typing O on
the keyboard, and we'll push in a little bit here.
| | 02:15 | Now I'm going to go to the source
image to draw my boundary shape.
| | 02:19 | What I want to do is limit the warp to
just this region here, so the head and
| | 02:23 | the ears and the cheek and
the mouth are not affected.
| | 02:25 | So I'm going to draw a spline here on the
source image, to show you, this is what not to do.
| | 02:35 | Now if we switch back to the source
warped, we can see we have a mess, because I
| | 02:39 | drew my boundary crossing over my warp splines.
| | 02:44 | So this is the wrong way to go.
| | 02:46 | What we want to do is draw the boundary
spline on the source warped image or the
| | 02:50 | warped image itself.
| | 02:52 | So I'm going to delete that, grab my
Bezier, and draw a new one, and this time I'm
| | 02:57 | going to do it on the warped image.
| | 03:02 | And you see the image kind
of twitched when I drew it.
| | 03:05 | The reason is the addition of that
spline was clamping the warp outside here.
| | 03:12 | So if we switch to the source image,
we can see the source spline here.
| | 03:15 | I'll go back to the warped image. And
now if I were to edit the spline right
| | 03:20 | now, you would see it would be different than the
source image, see? And I have introduced a warp.
| | 03:27 | So I'm going to undo that.
| | 03:28 | If I declare this Bezier to be a
boundary spline, look what happens.
| | 03:33 | You can see the effect of the boundary
setting right here, and you can see the
| | 03:37 | effect of the boundary spline there.
| | 03:40 | So it's actually clamping or
reducing the influence of the warp.
| | 03:44 | Once it's been declared a boundary
spline, again, if we go look at the source
| | 03:47 | side, you see it turns
orange, and they are identical.
| | 03:52 | Now you can edit the spline without any
problems at all, because you're actually
| | 03:58 | getting an identical copy on the
source and the destination sides.
| | 04:02 | I'll go ahead and put in some funny
stuff here so that you can see that I
| | 04:09 | have in fact made the exact same image on
both the source warped and the source side.
| | 04:17 | So by declaring it a boundary, it locks
it into a copy of itself on both sides.
| | 04:24 | However, if I toggle the node on and
off with the D key, you can see I'm still
| | 04:28 | getting some
deformations outside of my boundary.
| | 04:31 | So what can we do about that?
| | 04:33 | We can go to the next step,
which is to make a hard boundary.
| | 04:37 | So I'll select the spline again, turn off
the boundary, and turn on hard boundary.
| | 04:43 | Now watch what happens when I
enable and disable the node.
| | 04:46 | The warp is absolutely clamped to
only occur inside my hard boundary.
| | 04:51 | The rest of the picture is perfectly protected.
| | 04:55 | Now the hard boundary can only
be done with a closed spline.
| | 04:58 | The regular boundary can
be done with an open spline.
| | 05:01 | Now let's take a look at the pin.
| | 05:03 | I'm going to turn off the hard
boundary and turn it on to a regular boundary.
| | 05:08 | So as I enable and disable the node, you
can see I'm getting a lot of distortion
| | 05:13 | all the way around the whole picture.
| | 05:15 | So let's say the problem is that I want this
part of the lip right here to be unaffected.
| | 05:20 | I want to pin down just this one spot.
| | 05:24 | Well, that's what the Pin tool is for.
| | 05:26 | Now I'm looking at the source warped.
Watch what happens when I put the pin on
| | 05:31 | the warped image. Click, you see a twitch.
| | 05:33 | Let's push it a little bit.
| | 05:36 | And if I go to the source, you see it's up here.
| | 05:39 | If I go to source warped, it's pinned
it, but because I put it on the source
| | 05:44 | warped image, it distorted it a little bit,
| | 05:46 | so let's delete that.
Now let's do it correctly.
| | 05:49 | First, we go to the source image.
| | 05:52 | So this is the unwarped source image.
Grab my pin, put it on the dewlap right
| | 05:57 | there, and now when I switch to the
source warped, that spot is unaffected.
| | 06:02 | Watch what happens now when I
enable and disable the node.
| | 06:05 | That part of the picture
stays absolutely rock-steady.
| | 06:08 | Say, you notice the warp up
here looks a little dodgy?
| | 06:13 | Well, this is what the
correspondence lines are for. Watch this.
| | 06:16 | I'm going to turn on the visibility for
all the splines and now you can see the
| | 06:21 | correspondence lines I have right here.
| | 06:24 | The problem is there are too few
correspondence lines, so I'm getting kind of a
| | 06:27 | straight edge distortion. So let's fix that.
| | 06:31 | I'll go to the Correspondence tool and
do the Add Correspondence, and I'm going
| | 06:36 | to put one in here and one in there.
| | 06:39 | And now look how that smoothed it out.
| | 06:41 | I'll deselect with this tool over here and
turn the correspondence lines off. Look at that.
| | 06:46 | So that's what the
correspondence lines do for you.
| | 06:49 | If you've got a little bit of a segmented warp,
add more correspondence line to smooth it out.
| | 06:55 | So far we've been warping a single image.
| | 06:57 | Next, let's take a look at
warping one image to another.
| | Collapse this transcript |
| Warping to a target image| 00:00 | The key to warping one image to
another is getting the setup correct.
| | 00:05 | I'm starting with the familiar alien face and
purple face images to warp one eye to the other.
| | 00:11 | Since we want to warp the purple face to
the alien face, the purple face goes on
| | 00:16 | the source and alien face
goes on the destination.
| | 00:20 | So we're going to warp the
purple eye to the alien face eye.
| | 00:25 | So let's get started.
| | 00:26 | A little more space here, re-home the
Node Graph, push in on our purple face.
| | 00:33 | So I'm going to go draw my
initial spline on the source.
| | 00:37 | I'll zoom in a little more, select the
Bezier, click and drag, click and drag,
| | 00:44 | click and drag, click and drag,
all the way around and close. Okay.
| | 00:49 | Now I'm going to adjust it to fine-
tune it, get it positioned exactly where
| | 00:53 | I want it here.
| | 00:55 | I'm not going to spend too much time twiddling
control points because that's no fun to watch.
| | 01:04 | Okay, let say we like that.
| | 01:07 | Because I edited the source spline
after drawing it, it's not deviated from the
| | 01:12 | destination version.
| | 01:15 | You can see a little twitch there, okay.
| | 01:17 | But the fact that the destination
spline is warping the image is not important,
| | 01:22 | because we're not going to be using that.
| | 01:23 | We're going to go straight to the
destination image, and here's our
| | 01:27 | destination spline.
| | 01:28 | What we're going to do is edit this
spline to fit into the destination image.
| | 01:34 | So we'll select the Bezier node,
grab all the points, use the on-screen
| | 01:40 | transformation controls, push in this
up here, stretch that out there, scale
| | 01:47 | this up this way, and rough it in like that.
| | 01:51 | Okay, next, we'll start editing the
control points, making sure that we maintain
| | 01:56 | correlation between the two views.
| | 01:58 | And I had done this to be just on
the inside edge of the black region.
| | 02:04 | I'm going to refine the tension, so I
can adjust the slope of the curve to be
| | 02:09 | appropriate for my new shape.
| | 02:20 | Okay, oh we need to fix this here.
| | 02:22 | All right, I don't want to spend all day
twiddling splines, so let's say we like this.
| | 02:28 | Now if we switch the output to the
source warped, our source image eye is now
| | 02:33 | warped to the destination,
at least pretty close.
| | 02:37 | Now the problem when trying to warp one
image to another is trying to compare the two.
| | 02:42 | If I go to my set my output to the
destination image and then the source warped
| | 02:47 | and then the destination and then the
source warp, this is a little tedious and
| | 02:52 | it's hard to adjust and work with.
| | 02:54 | So here is the set up we want to do.
| | 02:56 | We want to set up viewer wipe.
| | 02:59 | The viewer wipe was made
for situations like this.
| | 03:01 | What we need to do, come down to the Node Graph,
hook up viewer input two to the alien face.
| | 03:09 | Now we can set the viewer wipe controls on, and
now we can do a wipe between the two pictures.
| | 03:18 | So we have to set one input to the wipe
for the SplineWarp and the other input
| | 03:21 | for Read node, and now we
can wipe between the two.
| | 03:24 | But of course we can also use the Fader
Bar, so this will give us a very handy
| | 03:29 | way to compare the two images
while we're editing our splines.
| | 03:33 | So let's move in to the wipe.
| | 03:35 | We'll push in a little bit, compare the two.
| | 03:42 | Okay, I'd like to see this black edge
from my source be pulled down closer to
| | 03:48 | the spline because I
don't have a black edge here.
| | 03:51 | So the way I am going to do that is I'm
going to turn on the auto-visibility so
| | 03:59 | I can see all my splines.
| | 04:00 | Now I'm going to go to the source
spline and adjust it a little bit.
| | 04:04 | You see what I'm doing?
| | 04:06 | I'm tucking it in to pull on the source
image so that it bites deeper into it.
| | 04:11 | Okay, let's say we like that.
| | 04:13 | I'll turn that one off.
| | 04:15 | Now I'll do another comparison wipe.
| | 04:17 | Okay, that's looking good, a little Fader Bar.
| | 04:23 | Okay, I've got little business over here.
| | 04:25 | I need to pull down on my source to
match my destination better, so I'll put in
| | 04:34 | a little Fader Bar mix, hold down
on the source, check the Fader Bar.
| | 04:41 | That's much better.
| | 04:45 | Check the wipe again.
| | 04:46 | Okay, now one other issue.
| | 04:48 | I have these little fuzzy edges here.
| | 04:51 | What we can do about that is
increase the rendering resolution.
| | 04:56 | On the Render tab, the current
resolution is how finely subdivided the mesh is.
| | 05:01 | So if we increase that from 3, to let's say 6,
watch that edge clean up a little bit.
| | 05:07 | Here I will close the SpineWarp property
panel, so that the splines are not in our face.
| | 05:12 | There is still a little stretching here
because we are pulling very hard on this
| | 05:15 | image, but for as much as we are
distorting it, it still looks really good.
| | 05:22 | Okay, let's zoom out a little bit,
turn off the viewer wipe, let me center
| | 05:27 | this a little better.
| | 05:28 | Now let's toggle the node on
and off, and we can see our warp.
| | 05:35 | If we toggle the Viewer nodes between
inputs 1 and 2, we can see the alien face
| | 05:39 | compared to the warped purple face eye.
| | 05:43 | Now if your source or destination
images are moving, then you can keyframe the
| | 05:48 | splines to stay on target
over the length of the shot.
| | 05:51 | Next up, morphing.
| | Collapse this transcript |
| Morphing| 00:00 | So you want to do a morph.
| | 00:02 | The SplineWarp node makes morphing easy.
| | 00:05 | While we're seeing how it's done,
we'll also get a good look at the workflow.
| | 00:09 | As before, we hook the purple face up
to the source input and the alien face to
| | 00:14 | the destination, because we want to
warp the purple face to the alien face.
| | 00:19 | One important tip is when you're going a morph,
| | 00:22 | the images have to be the same resolution.
| | 00:25 | I'll open up the SplineWarp node, and
I'll switch between the source picture and
| | 00:30 | the destination picture.
| | 00:32 | You see, they're both
exactly the same resolution.
| | 00:34 | If they're not the same then use a
Reformat node to reformat one to the other,
| | 00:40 | do your morph, and when you're done, use
the reformat node to put it back to the
| | 00:44 | original resolution.
| | 00:45 | I'll put it back to the source.
And because we have static images, we want to
| | 00:52 | turn autokeying off.
| | 00:53 | So, to do that, we'll click on Bezier and
then click on the selection tool, so we
| | 00:58 | can turn off Autokey.
| | 01:00 | The reason we want to do that is we
have static images, and that means the
| | 01:03 | playhead can be anywhere we want on
the timeline and we won't accidentally
| | 01:07 | introduce keyframes.
| | 01:09 | This makes it a lot easier to avoid
accidentally animating your shapes.
| | 01:14 | Okay, let's get started.
| | 01:14 | I'm going to give myself even more screen space.
| | 01:19 | Let's do a morph on the mouth,
so I'm going to push him here.
| | 01:24 | By default, the SplineWarp node
opens up in source warped, and again this
| | 01:30 | pop-up is duplicated over here, but
I like working with it here when I'm
| | 01:34 | working on the screen.
| | 01:36 | So, the first thing we do is switch to source.
| | 01:39 | That way we're looking at out source
image and the shapes we draw are going
| | 01:43 | to be on our source.
| | 01:44 | So, we'll draw a spline around here
and close that. And the first thing we
| | 01:51 | want to do is label it,
| | 01:53 | so we're going to call this lips.
| | 01:55 | When you're doing a morph you can have
an awful lot of splines on the screen and
| | 01:59 | you've got to be able to know
which is which. All right!
| | 02:01 | We have the lip spline on our source.
| | 02:04 | Now, we switch the display to
destination, and this is our destination spline.
| | 02:09 | Remember, the source is red
and the destination is blue.
| | 02:13 | So, I need to move this
over my destination target.
| | 02:15 | So, I'm going to select them all and
use the transform jack, get it initially
| | 02:20 | positioned, scale it down. So as much
as you can with the transform jack rather
| | 02:25 | than point twiddling.
| | 02:27 | Notice we have these dash lines here.
| | 02:29 | Let me push in a little bit.
| | 02:31 | The dash lines are telling you where
the control points are moving, whereas the
| | 02:35 | little dotted lines are
the correspondence points.
| | 02:37 | I'm going to turn the display off for
the correspondent points so we can see
| | 02:41 | what we're doing better.
| | 02:43 | When I deselect, the control points'
dotted line go away, but if I pick on a
| | 02:47 | point, select it, its dotted line will show up.
| | 02:51 | So, this is saying this control point
will move from here in the source to
| | 02:54 | there in the destination.
| | 02:57 | Okay, let's line up our destination shape.
| | 03:00 | So I'm going to move this over here,
bring that over there, put that here,
| | 03:05 | this there like that, okay.
| | 03:07 | I'm not going to spend a lot of time
twiddling these shapes, because that's
| | 03:10 | not a very interesting part of the story.
| | 03:13 | The key issue is workflow and technique.
| | 03:16 | So, we can switch back to the source.
| | 03:19 | Here's our source spline.
Look at the destination.
| | 03:23 | Notice that when I switch to the
destination, I'm seeing the destination shape
| | 03:27 | and to the source I'm seeing the source shape.
| | 03:30 | If you want to see both on the screen
at the same time then click on this
| | 03:33 | button here, the toolbar visibility button.
| | 03:37 | This will turn both of the shapes on
at the same time, regardless of which
| | 03:40 | view you're looking at.
| | 03:41 | You can also have individual
controls right here, so it's an override.
| | 03:46 | By default, it's going to show you
the shape that goes to that view.
| | 03:50 | Another interesting feature is the warped view.
| | 03:53 | So, this is the source image with the
source shape, but if I ask it to show me
| | 03:58 | the source warped, I'm going to see
what the source will look like when it's
| | 04:02 | warped to the destination.
| | 04:03 | So, there's my destination spline.
| | 04:08 | Similarly, the destination view can
be set for the destination warped, and
| | 04:12 | this is what it's going to look like
when the destination image is warped to
| | 04:15 | fit the source image. Okay.
| | 04:18 | Now, let's set up the warp.
| | 04:19 | We're going to animate the warp and the mix
fields here, but you'll notice they are ghosted.
| | 04:26 | They will not light up until you have
set the node for morph. Now they're lit up.
| | 04:31 | The first thing we need to do is
put the playhead on frame1.
| | 04:36 | I like to use the first frame playhead control.
| | 04:38 | That way I don't
overshoot or undershoot my frame1.
| | 04:41 | I always know I am on it.
| | 04:43 | At this point it might be fun to turn
off the splines by turning overlays off in
| | 04:47 | the viewer, typing O on the
keyboard, because we're going to be morphing.
| | 04:52 | So, for the warp, we'll set a keyframe
on frame1 or the beginning of your warp;
| | 04:57 | it doesn't have to be on frame1.
| | 04:58 | Your warp factory is 0. Okay.
| | 05:02 | Then we jump to the last frame--
| | 05:04 | I like to use the last
frame key--and set the warp to 1.
| | 05:10 | So, as the playhead moves through time,
we're going to morph from our source to
| | 05:14 | our destination, and this
is just the source layer.
| | 05:19 | If you want to look at the destination
layer doing that, you can slide the mix
| | 05:22 | control all the way over here, and now
you're seeing 100% of the destination as
| | 05:27 | you scrub the playhead.
| | 05:30 | But what we want to do is
set an animated dissolve.
| | 05:33 | So, I'm going to go to frame 20, because
usually you want your dissolve to start
| | 05:37 | partway into the morph, and
we'll set the mix keyframe to 0.
| | 05:43 | So, at this point I'm 100% source.
| | 05:46 | Move the playhead to 80, set the mix value to 1.
| | 05:52 | So from 80-100, I'm 100% destination;
from 1-20 I'm 100% source; and between
| | 06:01 | that is my dissolve. Okay.
| | 06:05 | Let's play the morph, and there you have it.
| | 06:09 | Now, we can refine this a little bit.
| | 06:15 | The mouth line right here, if we tighten
that up, this would be a more convincing morph.
| | 06:20 | I'll stop the playhead, set the viewer
back to source, and again, since I don't
| | 06:27 | have Autokey on, the playhead can be anywhere;
| | 06:30 | I don't have to worry about it.
| | 06:31 | So, I want to add an open spline
right here for the middle of the mouth.
| | 06:35 | So, we'll select our Spline tool,
select Bezier. But before I can draw, I am
| | 06:40 | going to have to turn the
overlays back on, so I can see my splines.
| | 06:43 | Click and drag, click and drag, click and drag.
| | 06:46 | To terminate the spline, because I want an
open spline, I can just switch to another tool.
| | 06:51 | Okay, and now I can reposition it for fine
control and get that thing where I want it.
| | 06:57 | Okay, now we'll switch to the
destination, and there's my mouth line. Ooh!
| | 07:01 | Before I forgot, I want to
rename this mouth. All right!
| | 07:07 | Again, I'll select all of the control
points and then the transform, so I can
| | 07:12 | move them into position. Scale them down,
rotate them, if necessary. All right!
| | 07:20 | Deselect and we'll push in here,
maybe a little too far. And I'm going to
| | 07:25 | reposition the control points in a
matching location relative to the source picture.
| | 07:32 | Okay, got that.
| | 07:35 | Now let's see how our morph looks.
| | 07:37 | I'm going to turn off the overlay by
typing O on the keyboard, set the mode back
| | 07:42 | morph, playhead on frame1,
and play my morph. Okay.
| | 07:50 | Adding that open spline in the middle
of the mouth line, helped lock those two
| | 07:54 | together and gave me a more convincing morph.
| | 07:56 | I'll stop this to turn the
discussion to correspondence points.
| | Collapse this transcript |
| The correspondence points| 00:01 | I am zooming the viewer back to get a
little workspace, in order to show you a
| | 00:04 | very important issue
about correspondence points.
| | 00:07 | When you draw a spline--let's go to source.
| | 00:12 | I am going to turn my overlays back on.
| | 00:14 | I'm going to draw a spline with just
three control points. Click and drag, click
| | 00:18 | and drag, click and drag, close.
| | 00:20 | We'll switch to the destination side.
I am going to select those points and
| | 00:25 | just scale then down.
| | 00:28 | Okay I've deselected, and now
we'll look at both points and their
| | 00:33 | correspondence points.
| | 00:34 | Let me turn the correspondence line.
| | 00:36 | Even though I drew three control
points, there are four correspondence lines.
| | 00:40 | Okay, I am going to delete that and
show you another case where I draw lot more
| | 00:45 | control points. Let's go to source,
select the Bezier, click and drag, click and
| | 00:50 | drag, click and drag, close. Go to the
destination side, select them, shrink it
| | 00:58 | down, so I have a lot more control points now.
| | 01:00 | Here is the punch line: no matter
how many control points I draw,
| | 01:04 | I still get four correspondence points.
| | 01:06 | So keep that in mind.
| | 01:07 | You'll always get four correspondence
points no matter how long this spline is.
| | 01:13 | Okay, I am going to delete that, turn
off the overlays, and re-home the viewer.
| | 01:18 | Now I want to show you the
importance of the correspondence points when
| | 01:21 | you're doing your warp.
| | 01:22 | Okay, move this up here.
| | 01:26 | I'm going to pop out the old SplineWarp
node with Shift+Command+X, bring in
| | 01:31 | this one that I've already prepared
that has some lines already drawn. Turn the
| | 01:36 | overlay on so you can see my splines.
| | 01:40 | So we're interested in these splines
right here just for the outside of the head,
| | 01:44 | and I'm going to close the old SplineWarp node.
| | 01:47 | What I wanted to show you is on frame
40, if we zoom in here--and I'm going to
| | 01:55 | turn the overlay off so
you don't see this splines--
| | 01:58 | you see how the source and
destination shapes don't line up very well?
| | 02:01 | Well, that's because there is only four
correspondence points going all the way
| | 02:06 | around the entire head.
So here's how we fixed that.
| | 02:09 | I'll turn the overlays back on, enable
the correspondence points' visibility.
| | 02:14 | Here is my Correspondence tool.
| | 02:17 | I'm going to select the Add
Correspondence Point, click one here on this side--
| | 02:22 | it doesn't matter which spline you choose--
and I'll click one over here just to
| | 02:25 | be different, okay.
| | 02:28 | Now I'll turn the overlays
off, and watch what happens.
| | 02:31 | I'll undo one, undo the other,
redo one, redo the other.
| | 02:36 | So you can see how those
correspondence points tuck the warps in so the edges
| | 02:41 | line up beautifully.
| | 02:43 | One other thing you're going to want
to know about is linking tracker data
| | 02:46 | to your control points. So let's
turn our splines back on, select the tool,
| | 02:52 | select spline, go to any control
point, right mouse pop-up Link to > Tracker
| | 02:58 | linking dialog, okay.
| | 03:00 | You have to have a Tracker node in
here obviously or this is ghosted out.
| | 03:04 | So this is how you can link any
tracker to any control point in your morph.
| | 03:09 | If you've got tracking data, like
translate, rotate, and scale, you can hook that
| | 03:13 | up here on the Transform tab. Or you
can use the Transform tab to animate the
| | 03:18 | position of yours splines
if you've got a moving clip.
| | 03:21 | I prepared a finished morph
demo for you that you can load in.
| | 03:25 | So over here on the Nuke File > Open,
browse to your Project Media, select the
| | 03:32 | morph demo nuke script, open that up.
| | 03:35 | Okay, I'm going to set the timeline to
ping-pong and play this morph for you.
| | 03:40 | So there you have it, a very nice-looking
morph, just using the SplineWarp node in Nuke.
| | 03:46 | Now you get to have this Nuke script.
| | 03:48 | It's included in the Project Media.
| | 03:54 | So you can open up this morph demo
script and open up the SplineWarp node so
| | 03:58 | that you can see all of the shapes
that go into it, and you can play with it
| | 04:02 | yourself and try to make our refinements
and improvements to make it your own.
| | 04:05 | I'll close this and go back to the
morph animation to say that morphing is a
| | 04:11 | delicate art that takes a lot of
practice and a lot of time, especially when you
| | 04:15 | have to animate the morph to follow
moving targets, but Nuke's SplineWarp node is
| | 04:19 | an outstanding tool for morphing.
| | Collapse this transcript |
|
|
8. The MotionBlur2D NodeThe MotionBlur2D node| 00:00 | The surprising thing about the MotionBlur2D
node is that it does not do any motion blur.
| | 00:06 | It converts 2D transformation
information like translate, scale, and rotate
| | 00:11 | into forward UV data.
| | 00:13 | This forward UV data is then used by
the VectorBlur node to do the actual blur.
| | 00:19 | Let's see how it works.
| | 00:21 | First we'll need a clip, so let's get
the Read node, go to the Project Media,
| | 00:26 | select the
gingerbreadman clip. There it is, yup!
| | 00:31 | See, this clip has no motion blur,
so we're going to add motion blur
| | 00:34 | with MotionBlur2D node.
| | 00:36 | We'll open the clip, hook it up to the viewer.
| | 00:39 | Okay, to apply motion blur to this clip,
first we'll select the Read node, go to
| | 00:44 | the Filter tab, and add the MotionBlur2D node.
| | 00:49 | Notice if I hook directly up to the clip,
I have no forward channels, but if I
| | 00:55 | hook the viewer up to MotionBlur2D node,
I now have forward channels, but it's
| | 01:00 | not populated with data yet.
| | 01:03 | To the MotionBlur2D node, we'll go to
the Filter tab and add the VectorBlur node.
| | 01:10 | For the VectorBlur node to do the blur,
it's got a have forward UV data from the
| | 01:15 | MotionBlur2D node, and for
that we need a 2D transform.
| | 01:19 | So one thing we can do is go to the
Transform tab and get a Transform node.
| | 01:25 | Hook that up to the 2D
Transform input right there.
| | 01:29 | Now we need some motion in the
Transform node, so I'll jump the playhead to
| | 01:33 | frame 1. I'll set a keyframe in the
Transform node, translate x as 0, jump
| | 01:39 | to the last frame of the clip, and give
it a big translate x of let's say 500. So
| | 01:45 | that's moving very fast.
| | 01:46 | Since it's not connected to the Read node,
it's actually not moving my clip, but
| | 01:50 | it is generating translate x data,
which the MotionBlur2D node can now read.
| | 01:57 | And now if we look in the Channels
list we do have a forward channel that we
| | 02:01 | can see in the viewer.
| | 02:02 | I'm going to clear the Property bin
and set the viewer back to RGBA for our
| | 02:08 | gingerbreadman layouts.
| | 02:10 | To set up the motion blur, we'll open
up the MotionBlur2D node, and you can see
| | 02:14 | here that it's going to output the UV
data into the motion, or forward channels--
| | 02:20 | either one will work.
| | 02:21 | So the forward UV channels are not
populated with data. Then we open up the
| | 02:26 | VectorBlur node. And by default it isn't
looking for any data so what we have to
| | 02:31 | do is tell it to go look into
the forward channels and voila!
| | 02:35 | We could also set for channels we want
motion blur, which would be the RGBA channels.
| | 02:40 | Now these settings here are used to adjust
any data that you input from another system.
| | 02:45 | Maybe you have forward UV data from
Maya or 3ds Max, so you can add
| | 02:50 | constants to the U and the V values or
scale the motion UV data up and down here
| | 02:56 | or do offsets to it.
| | 02:58 | That way you can reformat any
imported motion UV data in Nuke.
| | 03:02 | Okay, I'll disconnect the
MotionBlur2D nodes 2D transform input from the
| | 03:07 | Transform node to show you another technique.
| | 03:10 | What we really want is motion blur
applied to this object that's driven by its
| | 03:15 | motion. We can do that using a Tracker
node. So I'll select the Read node, come to
| | 03:21 | the Transform tab, do a Shift+Click on
the Tracker node--I'll move it over here--
| | 03:26 | so that we can use the Tracker node
to collect transformation data from the
| | 03:31 | original clip, feed that to the motion
blur, give that the VectorBlur, and impart
| | 03:36 | a correct motion blur on this moving target.
| | 03:38 | So I'll go to frame 1.
I'll set my tracker here,
| | 03:44 | make it larger, and I want to make my
tracking box really big, because this
| | 03:49 | thing is moving very quickly, so
I need a big wide search box here.
| | 03:55 | Okay, we'll track forward. Done!
| | 03:58 | All right, I now have tracking data
over the whole length of the clip.
| | 04:02 | You can see the tracker right here.
| | 04:04 | If I switch to the Transform tab, you
can see the translate x and y data here.
| | 04:09 | All I have to do is connect to 2D
transform input to the Tracker node.
| | 04:15 | However, if I check my channels,
I don't have any forward data.
| | 04:20 | The reason there's no forward channels is
because the Transform tab is set for none.
| | 04:25 | It's not outputting any transform data.
But if I set it for match move, suddenly
| | 04:31 | we have our motion data. I'll clear the
Property bin, switch the viewer back to
| | 04:36 | RGBA, and there's the motion blur on
our character. And I can toggle the
| | 04:41 | MotionBlur node on an off
and you can see it happening.
| | 04:44 | We now have correct motion blur
for the actual motion of this object.
| | 04:47 | The reason the motion blur is gone on
the last frame is because the motion
| | 04:51 | blur calculation looks at the current frame to
the next frame, and frame 10 is the last frame.
| | 04:57 | There's no motion between frame 10 and frame11.
| | 05:00 | So to fix that, we go to the Tracker
node, and we want to fix the translate x and
| | 05:08 | y curve. Go to the Curve Editor, select
translate x and y, select the last points
| | 05:17 | in the curves, and set them for Linear.
| | 05:26 | This way they retain their slopes,
| | 05:28 | there is a speed difference between frame 10
and frame 11 now, and the motion blur returns.
| | 05:34 | The motion blur no
longer dies on the last frame.
| | 05:38 | Back to the Node Graph, clear the Property bin.
| | 05:41 | So here we saw how the MotionBlur2D
node is used to capture forward UV data,
| | 05:46 | which is then fed to the VectorBlur node.
But there are other situations where
| | 05:50 | you don't need to use the
MotionBlur2D node to use the VectorBlur.
| | Collapse this transcript |
| Using the VectorBlur node| 00:00 | 3D motion data can be used to drive the
VectorBlur node directly, and there are
| | 00:05 | two ways to do that.
| | 00:07 | Let's take a look over here.
| | 00:12 | What I have here is a
checkerboard hooked to a card.
| | 00:17 | If we switch to the 3D viewer and we have
our camera--so this little 3D scene has
| | 00:30 | motion on the card, which we're
going to use to create motion blur.
| | 00:36 | Back to the 2D view. We hooked the
viewer up to the scan line render node, and
| | 00:43 | then if we check our channels, we now
have forward motion channels. And it came
| | 00:48 | from the camera and the card
and the ScanlineRender node.
| | 00:53 | If I open up the ScanlineRender node, you
can see here on the Shader tab, this is
| | 00:59 | where the ScanlineRender node has
created motion vector channels: forward, U, and
| | 01:03 | V. We'll close this and the 3D camera.
| | 01:08 | So at this point in the data stream
we have motion UV data, so if I hook up
| | 01:13 | viewer2 to the VectorBlur node, open
up the VectorBlur node, we can set the
| | 01:18 | channels for RGBA, set the UV
channels for forward, and there we have it.
| | 01:25 | You now have motion blur applied to the 3D render.
| | 01:28 | Now why do we want to do this?
| | 01:31 | In the ScanlineRender node there's an
option for turning on motion blur, and you
| | 01:34 | can do that and you'll get
a very nice 3D motion blur.
| | 01:38 | The problem is that it is very, very expensive.
| | 01:41 | So it's computationally cheaper to
export your motion UV channels and then apply
| | 01:47 | the VectorBlur afterwards.
| | 01:49 | Another option, which we'll see in just
a minute, is to actually import motion UV
| | 01:53 | data from other applications where you
can then use that in Nuke to apply motion
| | 01:58 | blur to your objects.
| | 02:01 | So the VectorBlur node is getting its
motion UV data right here from Nuke's 3D
| | 02:05 | render, and of course, we can dial
that up or down, adjust it any way we want.
| | 02:11 | So let's take a look at that third
case where we've actually imported an EXR
| | 02:15 | file and this EXR file contains
the forward channel data right here.
| | 02:22 | We'll put that back in the RGBA
layer and take a look at adjusting
| | 02:27 | the VectorBlur node.
| | 02:28 | I am going to close the old one.
| | 02:31 | So this is our VectorBlur node.
We'll set the channels to RGBA, and we'll set the
| | 02:36 | UV channels to forward.
| | 02:40 | Using the imported forward UV data, we
now have the exact same motion blur that
| | 02:44 | we had in the original 3D render, and
even the alpha channel is motion blurred.
| | 02:50 | I'll put that back to RGB.
| | 02:53 | Using the MotionBlur2D node to convert
transformation data into forward UV data
| | 02:58 | for the VectorBlur node is but one
way to get the motion data; it can also be
| | 03:03 | generated by Nuke 3D render or imported
as one of the channels of an EXR file.
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|
|
9. The ZBlur NodeThe ZBlur node| 00:00 | The ZBlur node simulates depth of field
by doing a selective blur on a 3D image
| | 00:06 | based on the value of its depth.Z data.
| | 00:09 | Rendering the depth of field into the 3D
image directly is very expensive, and if
| | 00:13 | a change is needed, it has to be re-rendered.
| | 00:16 | So it's much faster to do a depth of field
blur in 2D, plus it's quick and easy to change.
| | 00:23 | To see how it's done, you'll need an
image, so we'll fire up our Read node,
| | 00:28 | select our Project Media, and get the Z
Fighter.exr image. Say Open, hook it up
| | 00:34 | to the viewer by typing 1.
| | 00:35 | Let's get a little more viewer space.
| | 00:37 | Now this EXR image has several layers in it.
| | 00:42 | Our jet of course, with an alpha channel,
plus a depth.Z channel--I'll turn up
| | 00:48 | the viewer brightness so you can see it
better--and the background layer, which we
| | 00:53 | can use for our composite.
| | 00:55 | I'll put the viewer back to the RGBA
layer, and we are done with our Read node,
| | 00:59 | so we can close that. So let's do
the composite first, get that setup.
| | 01:04 | Select the Read node and type M on the
keyboard to get a Merge node. Since all
| | 01:08 | the layers we want are coming right
from here, we can hook up the B input to
| | 01:11 | there, and we'll tell the Merge node
that we want to composite the RGBA layers,
| | 01:15 | which is our space fighter, over the
BG layer, which is the background.
| | 01:21 | We don't need to see the composite until later,
so I'll disable the Merge node with the
| | 01:25 | D key and delete it from the Property bin.
| | 01:28 | So now we can go get our ZBlur node,
select the Read node, go over to the Filter
| | 01:34 | tab, and click on the ZBlur node.
| | 01:38 | The first thing we want to do is set
the channel that are going to be ZBlurred,
| | 01:42 | which will be just the RGBA channels.
| | 01:45 | Next we have to tell it where to find
the depth.Z information. By default,
| | 01:48 | it's going to look in the depth.Z
channel, which is the case with this example,
| | 01:53 | so we'll leave it unchanged.
| | 01:54 | Okay, the math pop-up. There is no
real industry standards yet on how to do
| | 01:59 | your depth.Z data, so you'll have to choose
which methodology your particular system uses.
| | 02:05 | You might have to do some experiments to
figure that out. But in this particular
| | 02:08 | case the default depth map works correctly.
| | 02:11 | The focus plane is the single plane
where the picture is in perfect focus.
| | 02:18 | The depth-of-field parameter is
how deep the in-focus portion is.
| | 02:23 | Size is how blurry it gets, and maximum
puts an upper limit on how blurry things get.
| | 02:29 | The real key to setting up the ZBlur
quickly and efficiently is to be able to do
| | 02:33 | it visually based on your image,
so let's push in a little bit here.
| | 02:38 | We want to be able to pick the
focus plane right off the image.
| | 02:42 | Let's say I want this
part to be the focus plane.
| | 02:45 | So the first step is we're going to
take the depth.Z data and put it into the
| | 02:50 | alpha channel of the viewer.
| | 02:53 | There. I'll turn up the viewer again
so you can see it better.
| | 02:56 | I'll put that back to normal
and switch the viewer back to RGB.
| | 03:02 | The reason for this setup is so we can
move the cursor over the image and see
| | 03:06 | the depth.Z data down here.
| | 03:10 | I'll set up color sample window here, and this
number down here is the depth data of our image,
| | 03:16 | not the alpha channel.
| | 03:17 | As I move my cursor around the screen,
you can see the depth.Z data changing, so
| | 03:22 | I know exactly where I am anywhere on the image.
| | 03:27 | So let's say I want this part of the
picture right here to be the focus plane,
| | 03:30 | so I look at my depth.Z data down
here in the bottom .05627, so I'll set the
| | 03:37 | focus plane to match at
.056, which is close enough.
| | 03:43 | I'll zoom out a little bit
so we can see the whole image.
| | 03:46 | I'll tap up the size to
increase the amount of blur.
| | 03:48 | This is just a starting position.
| | 03:52 | Okay, next, let set the depth of field.
| | 03:53 | I'm going to start by setting it to .1,
which is a very shallow depth of field.
| | 04:00 | So things in front of it are out of
focus a little bit and things behind it
| | 04:05 | are out of focus a lot.
| | 04:07 | Next, I would like to show you the
focal-plane setup. Check this button here.
| | 04:11 | This gives you a color scheme for which
parts of the picture are in the depth of
| | 04:16 | field or out of it, in front or behind.
| | 04:20 | The green color is the part that's
within them the depth of field, in other
| | 04:24 | words, in 100% perfect focus.
| | 04:26 | If I increase that, the green zone gets larger.
| | 04:30 | The focus plane is where it is front
to rear, closer and further from the
| | 04:34 | camera, so if I change that, you can see it's
walking at forward and backward in the picture.
| | 04:41 | So the focal plane setup will allow you
to visualize how your depth of field is
| | 04:45 | working. We'll turn it off to, go back to
our image, because normally you're going
| | 04:49 | to dial it in visually.
| | 04:51 | Now if I increase the size to a
large value, it really blurs the image.
| | 04:57 | The maximum value limits how blurry it
gets, so if I dial that down, that limits
| | 05:04 | the upper size of the blur.
I'll put that back to default.
| | 05:09 | With the depth of field the things
closer to the camera do get out of focus, but
| | 05:14 | less quickly than things behind the camera.
I'll show you that.
| | 05:17 | Let's zoom in here. And I'll toggle the
ZBlur node on and off, and you can see
| | 05:24 | that there's no change in the
focus in this part of the picture.
| | 05:27 | However, back here, toggling it on and
off, you can see it's really out of focus
| | 05:35 | and coming forward from
that, closer to the camera,
| | 05:38 | it's out of focus just a little bit.
| | 05:46 | One more parameter you might be
interested in is the filter shape. To see how
| | 05:50 | that works, let's push into this part over here.
| | 05:53 | The filter shape parameter adjust
the look of the softening. 0 gives you a
| | 05:59 | Gaussian filter and 1 gives you a disc
filter, so you would just dial this for
| | 06:03 | the look that you want--
a very subtle difference.
| | 06:10 | But then again, Nuke get all about subtlety,
so we'll zoom back, reposition our viewer.
| | 06:16 | So let's say we're done with our depth-
of-field adjustments. We'll go back to the
| | 06:19 | Merge node, turn it on, and
admire the finished composite.
| | 06:23 | Nuke does not have an image-based blur
node like shake and others, but next,
| | 06:28 | we'll see how to set up the ZBlur node
to turn it into an image-based blur node.
| | Collapse this transcript |
| Image-based blurs| 00:01 | I've got a demo set up here that you
can duplicate if you want to follow along.
| | 00:05 | I'm going to use a horizontal gradient
with the ZBlur node to increase the blur
| | 00:09 | from black to white, and
apply it to this checkerboard.
| | 00:12 | So first of all, we have our CheckerBoard node.
| | 00:15 | Next is a Grade node that I just use
to increase the contrast to make the
| | 00:19 | blur easier to see.
| | 00:21 | Following that is a Ramp node, and what I
did here was I set it up so we'll put a
| | 00:26 | ramp in the alpha channel that goes
from 0 black over here to 1.0 over there.
| | 00:33 | It also have has a broad strip of 0, so
we'll have a nice section of unblurred
| | 00:37 | image, and you just gradually roll into
our more blur as we go to the right.
| | 00:42 | If you need to see what that setup
looks like, I put the output in the alpha
| | 00:46 | channel and .0 is on the left and .1 is
on the right, just a little bit short
| | 00:53 | on the right, so I would have
a narrow strip of exactly 1.0.
| | 00:57 | Okay, we'll close this, switch the
viewer back to RGB, and let's go get the
| | 01:02 | ZBlur node. So from the Filter tab, ZBlur,
and that hooks right in under the Ramp node.
| | 01:10 | Now immediately we get a blur. The
reason is the ZBlur node is looking at the
| | 01:14 | depth.Z channel, which happens to be
black or 0 and then combining that with a
| | 01:19 | focus plane and the depth
choices, it's giving a bit of a blur.
| | 01:23 | So first we'll do is we'll set the
channel to RGB--always want to get into the
| | 01:27 | habit of setting those channels.
| | 01:29 | Now my "depth data" is in the alpha
channel; it is not in the depth.Z channel,
| | 01:36 | so we're going to direct the ZBlur node to
look into the rgba.alpha channel for its business.
| | 01:44 | Now we can set it up any way we want,
but I wanted to have the black on the left
| | 01:48 | with no blur and the white on the
right with maximum blur. So to set that up,
| | 01:54 | the math function that we want is far=
1, so the right edge where the alpha
| | 02:00 | channel is 1 is going to be the
farthest distance from the camera and get the
| | 02:05 | most depth-of-field blur.
| | 02:06 | We set the focus plane to 0, meaning the
0 black over here will be in sharp focus.
| | 02:14 | We'll set the depth-of-field to 0,
meaning it's going to immediately start
| | 02:17 | blurring the images as soon as the
code values get above 0. And we'll set the
| | 02:22 | Size for 10 to give it a nice blur.
| | 02:25 | Okay, so right off the bat, you can see
it's sharp on the left and blurry on the right.
| | 02:31 | That is to say, where the
gradient is black, it's sharp.
| | 02:34 | Where the gradient is white, it's blurred.
| | 02:37 | Okay, let's push in and
take a look at what we've got.
| | 02:39 | I'll set a zoom factor of 1 in the
viewer. We're at the left edge and here the
| | 02:46 | alpha channel is 0 black.
| | 02:49 | You can see the code
values down here. Back to RGB.
| | 02:56 | So we've got no blur here and as we
move to the right, you can see the blur
| | 03:01 | starting to pick up.
| | 03:03 | It's not just a mix back of some blur radius.
| | 03:05 | It is in fact increasing the blur
diameter as we move to the right.
| | 03:10 | In fact, you can see the yellow line getting
thicker and thicker as we move to the right.
| | 03:14 | Here we are.
| | 03:18 | To increase the blur more, we could
increase the size, but don't forget to
| | 03:26 | increase the maximum along with it,
or you won't see any change at all.
| | 03:29 | I'll re-home the viewer.
| | 03:33 | As you can see, the trick to using the
ZBlur node as an image-based blur is to
| | 03:38 | load it's Z channel with a
one-channel blur mask image.
| | 03:41 | This blur mask can be created any way you want,
| | 03:44 | through a Paint node, a Luminance key,
or any other source, and it could be put
| | 03:49 | into any available channels, since you
can set the ZBlur node to look at any
| | 03:53 | channel for the Z information.
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|
|
10. The Dope SheetNavigating the Dope Sheet| 00:01 | The Dope Sheet displays keyframes,
making it easy to shift the timing of
| | 00:04 | either animation or rotos.
| | 00:07 | It can also be used to
adjust the timing of a clip.
| | 00:10 | We'll start by taking a look
at navigating the Dope Sheet.
| | 00:14 | Now you should have a Dope Sheet tab right here.
| | 00:17 | If you don't, it's easy enough to add.
| | 00:19 | We'll go to the Pane pop-up, select Dope
Sheet, and there is out Dope Sheet tab.
| | 00:25 | Back to the Node Graph because we need
to load some clips. Cursor in the Node
| | 00:30 | Graph, type R on the keyboard,
get the Read File browser.
| | 00:34 | We'll select our Project Media folder,
go to the GingerBreadMan folder and
| | 00:37 | select the gingerbreadman clip and then
select Next because we want to go get another clip.
| | 00:45 | Go up one level, select the Numbers
folder and the numbers clip. And now we can
| | 00:50 | say Open and we have our two clips.
| | 00:54 | Select this one, type 1, select that one to type
2, and we've got both hooked up to the viewer.
| | 01:00 | So we have two read nodes
opened in the Property bin.
| | 01:03 | If we go to the Dope Sheet, we can see
that both read nodes are represented.
| | 01:09 | You'll normally only see in the Dope
Sheet nodes whose Property panels are opened.
| | 01:15 | However, in the case of the Read node,
you can go to the node tab and come down
| | 01:20 | here--always in Dope Sheet--turn that on,
and then even if you clear everything out
| | 01:24 | of the Property bin, that one
Read node will always show up.
| | 01:29 | And by the way, if you double-click on
that Read node, it will open it up for you
| | 01:34 | in the Property bin.
| | 01:36 | Okay, let's get some transformation
keyframes, so we'll select our Numbers Read
| | 01:40 | node, type T on the
keyboard to get a Transform node.
| | 01:46 | We'll enable keyframe for translate only,
jump a few frames, set a keyframe, jump a
| | 01:53 | few frames, set a keyframe,
jump a few, set, and done.
| | 01:58 | All right, I now have five keyframes
on the Timeline for translate only.
| | 02:03 | Next, I'll put the playhead say right
here and I'll our keyframe the rotate, so
| | 02:10 | it's on a different set of
keyframes in the Translate.
| | 02:12 | I have a keyframe here for rotate,
keyframe there for rotate, and one here.
| | 02:21 | Okay, now I have two sets of
keyframes, each with different timing.
| | 02:25 | We'll open up the Dope Sheet and
because the Transform Property panel is open,
| | 02:30 | it's entered in the Dope Sheet list.
| | 02:33 | First of all, it's displayed as a
hierarchy which you can fold up and unfold.
| | 02:40 | You can select a single parameter,
like Translate > Y or Rotate. Or if you
| | 02:46 | select a parent property, like
Translate, you'll get both of the child
| | 02:50 | properties X and Y.
| | 02:53 | Or if you select the entire,
node you'll get all the keyframes.
| | 02:58 | Now let's take a look at the Roto node.
| | 03:00 | We'll go to the Node Graph.
| | 03:01 | Lay out a Roto node by
typing O on the keyboard.
| | 03:04 | I am going to clear everything in the
Property bin except my roto by doing
| | 03:09 | Command+Click on this X here.
| | 03:12 | I'll jump the playhead to frame 1.
And my Bezier spline is already selected, so
| | 03:17 | I'll just go one, two, three, four, and close.
| | 03:22 | So this spline has four control points.
| | 03:25 | I'll jump out here, throw a little move on them,
| | 03:28 | jump over to the end, throw a little
move, so now I've got three keyframes
| | 03:32 | for the 4-point spline.
| | 03:33 | I'll jump back to the beginning of the shot.
| | 03:37 | Select my Bezier again.
| | 03:39 | This time one, two, three control
points and close, so you can see the
| | 03:43 | difference in the Dope Sheet.
| | 03:47 | We now have Bezier 1 and Bezier 2.
| | 03:50 | We'll open up the Dope Sheet.
| | 03:53 | There is my Roto node. If I unfold the
curves, I see Bezier 2. If I select both
| | 04:00 | Beziers in the layer list they
both show up in the Dope Sheet.
| | 04:04 | Bezier 2, unfold curve, and here are
the three control points in Bezier 2.
| | 04:13 | Unfold Bezier 1, unfold curves, and
there are four control points for Bezier 1.
| | 04:20 | Again, if you select the parent object,
curve, you're going to get all the
| | 04:23 | control points that are underneath, or you
can select just the control point you want.
| | 04:29 | You can also draw rectangles around the
control points and select them that way,
| | 04:34 | or you can just click on
one and select it that way.
| | 04:36 | I'll click off to the side to deselect that.
| | 04:40 | So you can either select objects in the
Dope Sheet list or select the keyframes
| | 04:45 | themselves on the Dope Sheet grid.
| | 04:48 | I'll click off to the side to deselect that.
| | 04:52 | Our last navigational issue is scaling
and zooming. Alt+Middle mouse left and
| | 04:58 | right to scale, Alt+Left Mouse to pan.
| | 05:03 | Also, we'll see in a minute how this
hooks up with the Curve Editor to keep the
| | 05:07 | two viewers in perfect sync.
| | 05:10 | Now that we have the Dope Sheet
navigation all sorted out, we can take a look at
| | 05:14 | actually editing some keyframes.
| | Collapse this transcript |
| Shifting keyframes| 00:00 | In the Dope Sheet, keyframes can be
edited in time but not in value.
| | 00:05 | In other words, it will shift the
keyframe positions on the timeline.
| | 00:10 | If you want to edit their values,
| | 00:12 | you still use the Property panel.
| | 00:14 | So let's edit some
keyframe from the Transform node.
| | 00:16 | I'll clear the Property bin, which
clears it out of the Dope Sheet, go to the
| | 00:21 | Node Graph, open up the Transform node,
back to the Dope Sheet, there it is.
| | 00:27 | The first method is to just grab a
keyframe and drag it where you want.
| | 00:31 | Okay, I will undo that. Or if you
have to select several of them, you can
| | 00:36 | drag the lot, undo that, or select the
parameter itself and you can move all
| | 00:42 | of its keyframes together. I will undo that.
| | 00:46 | Remember, with control points in Rotos,
we could nudge the control points around
| | 00:50 | with the 10 keypad, same here.
| | 00:52 | I'll select this keyframe here and on
the keypad I'll type the number 4 and
| | 00:57 | it'll go left 4, 4, 4 and number 6, right 6, 6, 6.
| | 01:01 | I'll select couple of points here. And
yet another way is the move field down here.
| | 01:07 | If I enter the number 5 and then click
Move, it'll jump to the right 5 frames,
| | 01:12 | and I can enter a negative value like -5
then click Move and it'll jump back 5 frames.
| | 01:19 | I'll click over here to deselect to show you
| | 01:21 | you can also edit the X value itself directly.
| | 01:25 | You see the editing cursor when I
place my cursor on top of the numbers.
| | 01:29 | Double-click on that and you can type 50,
Return, and it'll jump over to the new position.
| | 01:34 | I will undo that.
| | 01:37 | A very cool feature is that you can sync the
Dope Sheet to the Curve Editor. To see that,
| | 01:43 | let's get the Curve Editor here, rip off
the tab, and put it up over here in this
| | 01:47 | pane so we can see them both.
| | 01:50 | I'm going to home the Curve Editor.
| | 01:52 | To sync the two together, you have to
enable that feature right here by turning
| | 01:56 | on this little lock and it turns red.
| | 01:58 | Now watch what happens when I pan the
Dope Sheet or scale the Dope Sheet or
| | 02:04 | re-home it with the F key.
| | 02:06 | In addition to keeping the navigation
synced up, we can also edit control points.
| | 02:11 | I'll select the rotate keyframes, and in
the Dope Sheet I'll shift them in time,
| | 02:16 | and in the Curve Editor I'll shift them in time.
| | 02:19 | In the Dope Sheet I'll shrink them, and
in the Curve Editor I'll reposition them.
| | 02:25 | So you see it's reciprocal.
| | 02:27 | Whatever you do in one
is reflected in the other.
| | 02:29 | I'll undo that and another undo
and another undo and another undo.
| | 02:35 | Down below here are the range
numbers that show you the frame range that
| | 02:38 | the Dope Sheet covers.
| | 02:40 | For example, if I zoom in, the frame range
I'm covering now is roughly frame 15 to 74.
| | 02:46 | Now if you get zoomed in like this,
the playhead might be out of the frame.
| | 02:51 | All you have to do to get it back
is click down here on the red line.
| | 02:55 | If you click on the red line,
| | 02:57 | that causes the playhead to jump to
wherever you click. Not so up here.
| | 03:01 | I'll re-home the viewers. To insert a
control point in the Dope Sheet, just
| | 03:07 | click with an Alt+Command and you'll have
inserted a new control point right there.
| | 03:11 | Now you notice it's a floating point
because it happen to land in the cracks
| | 03:14 | between the frames, so I can just pick
it up and drag it either left or right to
| | 03:18 | get it back on an even-frame boundary.
| | 03:21 | So the exact same Command as up
here in the Curve Editor, Alt+Command+Click
| | 03:25 | on the Curve, and it shows up there, and
you can see we have a new one here, and
| | 03:29 | again, to get it on the integer boundary,
| | 03:31 | just drag it left or right and it'll
jump to the nearest integer frame.
| | 03:36 | To delete them, just click on them and
hit the Backspace key or select it and hit
| | 03:40 | the Delete key; either Backspace or
Delete will delete your keyframes.
| | 03:46 | Okay, let's restore the Curve Editor
back way where it belongs by clicking on
| | 03:49 | the tab and dragging it down here.
When I see the yellow line I'll let it go.
| | 03:55 | If the tabs are not in the right order,
it's very easy to just to grab a tab and
| | 03:58 | drag it over and swap their positions.
| | 04:02 | Okay, now I'd like to show you a
special feature that Dope Sheet have that's
| | 04:05 | reserved for Read nodes.
| | 04:06 | I'm going to clear the Property bin,
| | 04:09 | so there is nothing in our Dope Sheet,
except Read2, which has been marked as
| | 04:13 | Always display in the Dope Sheet.
| | 04:14 | I'll clean this up by closing the file line.
| | 04:19 | This button right here tells the Dope
Sheet to show all of the Read nodes you
| | 04:24 | have in your Node Graph,
| | 04:25 | in the words, up here would be these two.
| | 04:29 | So I'll back to the Dope Sheet. So if I
click on the Show Read Node button, all
| | 04:34 | the Read nodes in the entire flow graph are
now listed in the Dope Sheet all the time.
| | 04:38 | Of course now we can use the Dope Sheet to
either slip-sync on a clip or set in and out points.
| | 04:44 | To show you that I'm going to go
over to the Node Graph and disable the
| | 04:48 | Transform and Roto nodes so we can
see our Numbers clip very clearly.
| | 04:52 | We'll go back to the to the Dope Sheet.
| | 04:56 | I can click on the Read1 clip and shift
it left and right, and you can see the
| | 04:59 | timing changing up there in the viewer.
| | 05:02 | I'll put that back and undo that.
| | 05:04 | I can also adjust the in and out points.
| | 05:08 | I'll double-click on the Read1 node to
open up its Property panel up here so you
| | 05:11 | can watch the in and out points right here.
| | 05:14 | As I shift the first frame value in
the Dope Sheet, you can see it's being
| | 05:18 | changed to the Property panel. Or I can go
up to the Property panel and change the
| | 05:23 | out point and it's reflected in the Dope Sheet.
| | 05:26 | If I shift the timing, you see that value
is reflected right here in the Frame Offset.
| | 05:32 | I'll put that back to 0. So you can edit
this from either this Property panel or
| | 05:37 | down here in the Dope Sheet.
| | 05:40 | The Dope Sheet provides an intuitive and
visual method for shifting keyframe timing.
| | 05:45 | The ability to slip sync your clips,
as well as to shift the keyframes of
| | 05:49 | your rotos and animation, makes
adjusting the timing of your composites much
| | 05:53 | faster and easier.
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11. Making GizmosMaking a group| 00:01 | A gizmo is Nukespeak for a macro,
| | 00:03 | a prepackaged group of nodes that have
been collapsed into a single node that is
| | 00:08 | then added to the tool tabs like any
other Nuke node. But to make a gizmo, you
| | 00:13 | first have to make a group.
Here's how to make a group.
| | 00:16 | Let's start by getting our purple
face guy from Project Media, Mr.
| | 00:23 | Purple Face, open, type 1
to hook to the viewer node.
| | 00:28 | So we're going to make a group that
will apply a series of operations to his
| | 00:32 | face and then turn that group into a gizmo.
| | 00:38 | So let's pull in some nodes.
| | 00:39 | We'll select the Read node and type T
for the transform, G for a grade, B for a
| | 00:44 | blur, and let's say that I want the
Gain to always be set at .5. There we go.
| | 00:51 | But I want to export and adjust the
Blur node's Size parameter, as well as the
| | 00:55 | Transform node's Scale parameter.
| | 00:58 | So those two controls need to
beyond the outside of my group.
| | 01:02 | So first of all, to make a group, we'll
select the nodes we want to have as a
| | 01:05 | group, and the keyboard shortcut is
Command+G. And they collapse into a group.
| | 01:12 | Now the first thing you want to do is
to rename it, so let's call this MyGizmo.
| | 01:19 | And to view the contents of your
group, you have a Group tab over here.
| | 01:22 | If you click on that, you get a Node Graph
of all the nodes that make up the group.
| | 01:27 | We'll go back to the regular Node Graph.
| | 01:30 | Next, I want to export my two controls,
the Blur Size and the Transform Scale
| | 01:34 | value, so I'll come up here to my Gizmo
property panel, right mouse pop-up, and
| | 01:40 | select Manage User Knobs.
| | 01:42 | Now there are two different things
you can do with these user knobs.
| | 01:45 | You can create your own custom sliders
and knobs, and then you can hook those
| | 01:50 | into any parameters that you want.
| | 01:52 | Or you can pick existing knobs that
are in the nodes you have in your group,
| | 01:56 | which is what we're going to do.
| | 01:58 | So we'll start the Transform node.
We'll unfold that. And here's the Transform
| | 02:03 | tab and the Node tab in the Transform node,
| | 02:05 | so we'll unfold the Transform tab
and we'll pick the Scale parameter.
| | 02:10 | Say OK, move this over. So here is my scale.
| | 02:15 | Next, we'll pick from the Blur node, the
Blur tab, the Size parameter, and I'm done.
| | 02:26 | I've now got the Scale parameter and the
Blur Size parameter exported to the gizmo.
| | 02:32 | I'll set both of these to default by
doing a Command+Click on the slider bar.
| | 02:37 | If we stop here, the group will be
saved with the Nuke script. Then it will not
| | 02:41 | show up in the tool tabs
to be used in other scripts.
| | 02:45 | For the group to become a gizmo,
it has to be exported as a gizmo.
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| Making a gizmo| 00:00 | When the group is exported as a gizmo,
it can be saved locally where only
| | 00:04 | you can see it or it can be saved in a
central directory where everyone can see it.
| | 00:10 | You'll need to check with your IT guy
where the public directory is, because it's
| | 00:13 | different at each facility.
| | 00:15 | So let's start by seeing how to
save this group out as a gizmo.
| | 00:18 | The first thing you want to do is set
the sliders for the default value you want
| | 00:23 | when the gizmo is opened.
| | 00:25 | Let's say I want the scale to be .8
and I'm fine with the blur size being 0.
| | 00:30 | So I'm going to save out MyGizmo locally.
| | 00:34 | We do that by switching to the
node tab and right down here, Export as
| | 00:39 | gizmo, click on that.
| | 00:41 | So I'm doing this on a Mac and for a
Mac, the location to save it is your
| | 00:45 | home directory, in the .nuke folder, and then
you give it your name, MyGizmo, no extension.
| | 00:56 | When it's saved out, the
.gizmo extension will be added.
| | 00:59 | The important thing is it goes
into the .nuke folder, under your home
| | 01:03 | directory. Click Save.
| | 01:06 | If you're on a Linux machine, the .nuke
directory is also under your home directory.
| | 01:11 | For Windows XP, it's the
C:\Documents and Settings\your login name\.nuke.
| | 01:20 | Okay, we've exported the group as a
Gizmo, but it hasn't shown up yet.
| | 01:24 | By clicking the Node Graph and do a Tab key
to search for it for MyGizmo, I don't find it.
| | 01:31 | The first thing we have to do is restart Nuke.
| | 01:34 | When Nuke starts up, it searches all
the path names and makes a list of all the
| | 01:38 | gizmos and all the plug-ins.
| | 01:39 | So I'm going to go ahead and restart Nuke.
| | 01:43 | Okay, so I've restarted Nuke, and I've
brought in my same purple face read node,
| | 01:47 | and I have no gizmos.
| | 01:49 | Even though I've restarted Nuke, if
I hit the Tab key and do a search on
| | 01:53 | MyGizmo, I don't find it.
| | 01:56 | What I have to do is we go to the
Miscellaneous folder and select All Plug-ins > Update.
| | 02:03 | Now with the Tab key search, I type n
My, and I see MyGizmo. There it is.
| | 02:08 | I hook it in here.
| | 02:10 | You'll notice it opened with a scale
value set .8 which was my default, and
| | 02:15 | the blur size of 0.
| | 02:17 | So don't forget, wherever the sliders are
set when you export the group as a gizmo,
| | 02:21 | that will become the default
setting when you open that gizmo.
| | 02:25 | Gizmos are quick and easy to create
and are a very slick way to add new nodes to
| | 02:30 | your Nuke library.
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