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Multipass keying

From: Nuke 6 New Features

Video: Multipass keying

Now, let's take a look at multipass keying. No keyer can give you a perfect comp by just plugging in the foreground and the background and twiddling the knobs. It's going to take a multipass approach, so that's what this is about here. Keylight has some multipass functions built-in. I am going to clear the Property panel and open up this Keylight node here. I am going to pull a core matte on this Keylight and then feed that to this other Keylight to use in the composite.

Multipass keying

Now, let's take a look at multipass keying. No keyer can give you a perfect comp by just plugging in the foreground and the background and twiddling the knobs. It's going to take a multipass approach, so that's what this is about here. Keylight has some multipass functions built-in. I am going to clear the Property panel and open up this Keylight node here. I am going to pull a core matte on this Keylight and then feed that to this other Keylight to use in the composite.

So, first I'll hold the viewer. Let's pull a quick key, switch to the Screen Matte. Of course, my purpose here is to pull a very simple solid core matte. So, I'll adjust the Screen Gain to clear out the haze. I'll adjust the Screen Balance to get rid of your holes in her shirt. I'll open up the Screen Matte. introduce some black clipping to get rid of more of the haze. Then I'll go to the Screen Dilate and dilate down the matte.

I'll go back up to the white clip and kind of fill it in a little bit, here we are. Okay. So, let's say this is the core matte that I want to export from this Keylight node. The way I tell the node to export the matte is up here in the View. I set it for Intermediate Result. Now, look at what we have. We have our original green screen and behind it in the alpha channel is the core matte that I created. So, this is the basic setup.

Now, we are going to feed this image to the second Keylight node. We'll hook in the source here. We'll switch our Viewer over to this Keylight node, clear the Property panel, and open up the new Keylight node. Next, we'll pull a quick key. Go look at our Screen Matte. I'll dial down some of that grain, go to the Black clip, get rid of some more of it.

Okay. But my problem is I've got the holes in the shirt here that I want to fill in with that core matte. So, the first step is to set the view for Combined Matte. Remember, the Combined Matte is going to show you the Screen Matte plus any and all other mattes, all combined together. Next, we come down to the Inside Mask popup menu and make the adjustment right here at the Source Alpha. Don't forget our Source image is the green screen from the other Keylight node and it's alpha is here, so that's the Source Alpha.

Back to our Combined Matte. So, the Source Alpha at the moment is being ignored. I want to use it. I want to add it to my key. So, I'll say Add to Inside Mask and now it's being added to my key. So, this is before and after. Now, let's a look at the Status again. We'll go to View, checkout Status and now we've got the blue pixels here. This is telling me that this part of the picture has been modified.

Since Keylight initially thought this part of the matte was semi-transparent, it did a spill operation on it. But now we've filled it in and now we have to go correct the spill operation that was accidentally done. That's the purpose of the Inside Replace right here. This is the same type of operation as Screen Replace up here but this is for when the alpha channel has been expanded and eroded. This is when the alpha channel has been modified by the Inside Mask.

So, we'll set our View to Composite so we can watch the action. Again, we have the same options here. We can say None, no fix at all, or we can say Source. Now, you can see it's pulling in the Source green screen and you can see how much the spill suppression had pulled the green out. Or we can say a Hard Colour. Again, we can select that color and click anything from the screen or use the color picker. Of course, we can also use the Soft Color option, which blends it in gently.

The only left to do is color correct the foreground, which we will see in the next video.

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This video is part of

Image for Nuke 6 New Features
Nuke 6 New Features

59 video lessons · 5852 viewers

Steve Wright
Author

 
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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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