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This course reviews the Nuke 6.3 tools and performance enhancements that make keying, motion tracking, color correction, and 3D compositing in Nuke more powerful than ever. Author Steve Wright covers the introduction of 3D particles, the enhanced spline and grid warping, the all-new planar tracker, an audio scratch track for matching audio cues to effects, and a briefing on deep compositing, the powerful new method of working with deep images.
Nuke 6.3 New Features was created and produced by Steve Wright. We are honored to host his material in the lynda.com library.
We're continuing on with the Nuke script that we've been building to see how to use the Faces tab here, and the Vertices tab there, to build even more geometry from the 2D clip. We don't need our hulky monster anymore, so we can get rid of that. Make sure your Viewer is connected up to the Read node, and that you have the Modeler node open up here in the Property bin. So let's say that we want to model this set. We want a face for this wall, this wall over here, as well as the floor. So we'll start with this wall.
You need to develop a strategy for your keyframes, and there are two criteria. One is, the camera must have moved a good distance between the two keyframes, and the second criteria, your target obviously can't go out of frame. So for this wall, let's say this is going to be my upper left-hand corner. So I'll scrub through the timeline, and find out where it goes out of frame. Okay, there is the last frame, let's say. Select my Face Drawing tool. Click here, there, there, there, and to close, we can either let it snap, and click, or hit the Return key.
You have to carefully choose reference points on the screen that you can easily find on the next frame. They have to be very prominent, so you can make sure your vertices are lined up the same. So let's zoom in here. Once we have closed the face, our tool switches to the Select tool; see my cursor shape? Okay, now I can fine-tune the position of these vertices. Make sure I've got it snuggled in right in the corner there. When you click and drag like that, it takes a second for it to wake up. Come down here.
I will click and drag, it takes a second to wake up, and then I'll position it very carefully. And same here; click and drag, and I'll fine-tune the position right there where I want it. Okay, re-home the Viewer with the H key. Alright, I have my first keyframe set up. Now I'll go to the first frame of the clip. I like to use the first frame button, so I make sure I don't overshoot that frame1. Alright, let's start repositioning our vertices for the second keyframe.
Click, drag over here, wait for it; there we go. And this guy down here, wait for it; there we go. And this guy down here. Alright, we'll check our fourth point up here, and it has automatically snapped to the right location. We're good. We'll re-home the Viewer, and it has turned blue, and I have my green surface normal area, so we have a face.
Switch to 3D; take a look at what we've got. Okay, here's 3-D view; looks very nice. We have a nice face for this wall. Let's build another wall over here. We'll go back to the 2D view to take a look at the Faces tab. This is a list of all the faces you've built. Now, you can select a face either by clicking it from this list, or in the Viewer, Command+Cick on the different faces. You can deselect in the Viewer by doing a Command+Click off of a face, or from here, you can just click at the bottom to deselect that way.
You also have, over here, a visibility toggle. So you can the Visibility on and off, and for whatever faces are selected in the list, you can click Delete Face, and take them away. There is no editing of this data here. This data is generated by the system. Okay, we'll go back to the Modeler tab, and draw a shape for this face over here, but now something new has been added. This is going to share vertices here, here, and there. So that will introduce a snapping feature when we draw our face.
Again, we're going to choose our key frames wisely. I'm going to start on Frame1. I only need this one point up here to actually reposition, because the others are going to snap automatically. Alright, so get our Add a Face tool; Click here. This is my new spot here, and this will snap. See it snapping? Okay, click on that, and snap, snap, click on that, and Return to close. So I now have to introduce a second keyframe for just this point.
We'll zoom in; too much. I'll just fine-tune this position a little bit here, like so. We'll slide down the timeline to the last frame, and I'll fine-tune him here, like so. Notice I got my blue fill, meaning I have a face, with a surface normal. I'll re-home the Viewer, and we'll scrub the timeline, and go yes; that face seems to be tracking. We'll check the 3D view, and there we go.
We have another face. Next, we'll add the floor. So we'll go back to 2D, and take a look at the Vertices tab. We'll extend the window here, so we can see them all. So this is a list of all the Vertices. Again, you can select them by clicking on them, or click in the Viewer; it takes a second. There is no editing this information. This is the tracking data it's generated from your two keyframes, plus the camera, and these are the 3D points it's calculated, so you don't get to change these.
It's all done with screen interaction. However many vertices you have selected here, click Delete Vertex, and they'll disappear. Click down here to deselect all vertices. There. Let's go back of the Modeler tab, and let's draw a face for the floor. Again, we are going to have 1, 2, 3 pre-existing vertices, which will snap. So we only need one new point, and I'm going to use this little doggy spot here on the carpet. Okay, so we get our Add a Face tool, we'll click here, snap, click there, snap, click here, and we'll come out to this spot.
Click a new spot there, and close. Zoom in a little bit, move the play head down, so the camera has moved a lot, and we're going to reposition the Vertex on the second keyframe. Here we are. You can also nudge these in with the 10 key pad. So I'm going to type on the 10 key pad, 88888, goes up; 22222, goes down. So you can use the 10 key pad to nudge your vertices around, just exactly like in the Roto node.
Let's re-home the viewer, scrub the timeline, and go yes, that looks reasonable. We'll check our 3D view. Uh-huh; I now have the floor. So we now have an accurate 3D model of most of the set that we can use to line up even more 3D geometry, do camera projection; whatever we want. But wouldn't it be grand if we could save out our model, and give it to someone -- say, another new Nuke artist, or the 3D department -- so they could use it for reference as well?
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