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Nuke 6 New Features
Illustration by John Hersey
Watching:

Basic compositing


From:

Nuke 6 New Features

with Steve Wright

Video: Basic compositing

Keylight is a color difference keyer developed by the computer film company that is distributed and supported by the Foundry and is now available for Nuke. We'll start by setting up a basic composite. You can pull in these two elements from our Keylight media file. So, we'll select the green screen boy, come up to the Keyer tab, and select the Keylight node. Keylight hooks into the source input, which is where the green screen goes, and then we hookup the BG input to the background.
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  1. 7m 45s
    1. Welcome
      1m 56s
    2. What is NukeX?
      5m 0s
    3. Using the exercise files
      49s
  2. 1h 11m
    1. Learning the interface
      5m 15s
    2. Drawing shapes
      1m 41s
    3. Editing shapes
      5m 1s
    4. Keyframe animation
      6m 4s
    5. Property panel tabs
      7m 8s
    6. The shape list
      4m 26s
    7. Output settings
      1m 11s
    8. Workflow examples
      5m 33s
    9. Creating garbage mattes
      4m 55s
    10. Drawing strokes
      4m 16s
    11. Editing strokes
      4m 30s
    12. The Clone tool
      1m 37s
    13. Editing the Clone tool
      2m 54s
    14. The Reveal tool
      9m 2s
    15. The Blur tool
      2m 21s
    16. The output mask
      2m 57s
    17. The Dodge tool
      2m 32s
  3. 27m 38s
    1. Basic compositing
      3m 51s
    2. Using the Screen controls
      2m 50s
    3. Using the Screen Matte controls
      3m 37s
    4. The Crop feature
      2m 28s
    5. Holdout and garbage mattes
      2m 19s
    6. The Tuning controls
      1m 58s
    7. The Bias controls
      2m 37s
    8. Screen replacement
      2m 15s
    9. Multipass keying
      4m 37s
    10. Color-correcting the foreground
      1m 6s
  4. 17m 8s
    1. Basic setup
      3m 24s
    2. The Ultimatte workflow
      5m 18s
    3. Using the matte tools
      4m 16s
    4. Spill suppression
      4m 10s
  5. 28m 8s
    1. Overview
      2m 42s
    2. Pre-processing the greenscreen
      3m 25s
    3. Creating specialized keys
      7m 14s
    4. The preliminary composite
      6m 14s
    5. Creating supplemental keys
      6m 22s
    6. Alternative workflows
      2m 11s
  6. 24m 39s
    1. Editing control points
      4m 49s
    2. Editing the warp grid
      2m 52s
    3. Keyframe animation
      4m 42s
    4. Morphing
      10m 7s
    5. Additional tabs
      2m 9s
  7. 33m 20s
    1. Drawing splines
      6m 3s
    2. Drawing open splines
      2m 0s
    3. Limiting the warp
      7m 1s
    4. Warping to a target image
      5m 54s
    5. Morphing
      8m 1s
    6. The correspondence points
      4m 21s
  8. 9m 3s
    1. The MotionBlur2D node
      5m 55s
    2. Using the VectorBlur node
      3m 8s
  9. 10m 29s
    1. The ZBlur node
      6m 33s
    2. Image-based blurs
      3m 56s
  10. 11m 13s
    1. Navigating the Dope Sheet
      5m 17s
    2. Shifting keyframes
      5m 56s
  11. 5m 22s
    1. Making a group
      2m 50s
    2. Making a gizmo
      2m 32s

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Nuke 6 New Features
4h 6m Intermediate Aug 18, 2010 Updated Feb 13, 2012

Viewers: in countries Watching now:

Author Steve Wright explores the new features found in the 3D digital compositor Nuke 6. The course introduces the RotoPaint node for drawing and painting effects, the Keylight keyer for creating mattes and composites, and the SplineWarp node for warping images. The course also explains how to merge keys, animate with keyframes, and create image-based blurs. Exercise files accompany the course.

Nuke 6 New Features was created and produced by Steve Wright. We are honored to host his material in the lynda.com Online Training Library®.

Topics include:
  • Exploring NukeX
  • Working with the new paint tools
  • Using the Clone and Reveal tools
  • Reviewing the Keylight matte controls
  • Creating Keylight holdout and garbage mattes
  • Performing multipass keying
  • Working with mattes in Ultimatte
  • Creating specialized keys
  • Drawing and warping splines
  • Exploring the MotionBlur2D and ZBlur nodes
  • Navigating the Dope Sheet
  • Making gizmos
Subjects:
3D + Animation Video Keying Compositing Visual Effects
Software:
Nuke
Author:
Steve Wright

Basic compositing

Keylight is a color difference keyer developed by the computer film company that is distributed and supported by the Foundry and is now available for Nuke. We'll start by setting up a basic composite. You can pull in these two elements from our Keylight media file. So, we'll select the green screen boy, come up to the Keyer tab, and select the Keylight node. Keylight hooks into the source input, which is where the green screen goes, and then we hookup the BG input to the background.

The first step in Keylight is to tell it what the backing color is, what they called the screen color, and here is the screen color here. First, we turn on the eyedropper, make sure that's turned on, and then in the Viewer, Command+Click to select the color. Now, Keylight is twitching, because it's actually sampling the output of Keylight, which is being changed based on my selection. So, we have to use the Nuke keys Alt+ Command in order to sample the incoming image that is directly off the source image right here, okay.

Of course, if we want to sample a box, we'll do Shift+Alt+Command like this. Of course, if you are using a Windows machine or a Linux machine you'll be using Ctrl instead of Command. When you select the screen color, you are selecting a single RGB value, even if you use the sample rectangle. It's simply taking the average of all the pixels inside the rectangle. Now, to make sure that you don't disturb your selection you can turn the eyedropper off and that way you won't accidentally change your screen color.

So, when you first start, the View is set to the Final Result and this is Keylight speak for the premultiplied output. If you want an Unpremultiplied Output, you would turn this on. Let's take a look at the View popup menu. There are a lot of different views here. The Source is the incoming green screen image. The Source Alpha means show me the alpha channel of the incoming green screen image. Now here there is an issue. That is not the alpha channel.

If we hook the viewer directly up to the green screen and then switch the viewer to the alpha channel, you can see this is a typical three channel green screen image with a black alpha, but yet somehow Keylight thinks that it is white. Okay? So, if the source input has no alpha. Keylight will tell you the alpha channel is white. However, if the incoming image is a four channel image, and I'll fake that here by putting this in line, I've now added a real alpha channel with some content.

Keylight sees that and passes it through correctly. But if it's a three-channel image, just remember Keylight will tell you it's white when it's not. The next view we'll take a look at is the Screen Matte. The Screen Matte is in fact the matte that is created by Keylight, and there are lots of other things to see in the viewer. For example, the Inside Mask and Outside Mask, these are the holdout and garbage masks which we'll take a look at later. The Status is a very interesting and important view.

The Status sorts all of the pixels of the matte into three categories: 100% solid or white, 100% transparent or black, and everything else, all the semitransparent pixels, are simply set to 50% gray. This is a diagnostic view that will help you later. We'll see how. The Final Result as we saw before is the premultiplied output. Don't forget about the Unpremultiply option, and then there is of course the Composite.

In the next video we'll learn about the Screen Controls.

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