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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®.
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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