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Overview

From: Nuke 6 New Features

Video: Overview

I have said many times that you cannot expect to plug your green screen or blue screen or background clip into a keyer node, tweak a few knobs, and get a fine composite. That only works on the demo footage. In the real world you have to pull multiple keys and merge them together into a single master key. Here we will see a variety of strategies for creating and combining those keys into a single master key. The reason you want to combine multiple keys into this master key rather than compositing each keyer output on top of each other is because that makes a patchwork composite with different appearances of the spill suppression and color corrections from each keyer node.

Overview

I have said many times that you cannot expect to plug your green screen or blue screen or background clip into a keyer node, tweak a few knobs, and get a fine composite. That only works on the demo footage. In the real world you have to pull multiple keys and merge them together into a single master key. Here we will see a variety of strategies for creating and combining those keys into a single master key. The reason you want to combine multiple keys into this master key rather than compositing each keyer output on top of each other is because that makes a patchwork composite with different appearances of the spill suppression and color corrections from each keyer node.

The Primatte output simply looks different than Keylight. So let's take a look at the workflow. Starting up here with our green screen, the first thing we do is pre-process it to set it up for the keyers. One obvious method here is of course degraining. Down here are the different keyers. These could be completely different kinds of keyers or the same keyer with different settings. For example, Primatte here optimized for the head, Primatte there optimized for the body, and maybe Keylight here optimized for the hair.

Down here is where all the keys are combined to create the single master key. Of course, this is a very complicated and important thing, so we will be taking a very close look at those in the upcoming videos. On a separate branch from the green screen we do the spill suppression. The PreProcess green screen is never used on this branch. The PreProcessed is only for pulling keys, okay? So here we do our spill suppression followed by color correction. Always in that order.

You never put the color correction before the spill suppression. The reason is, if you change the color correction and then the spill suppression follows it, it will completely mess up your spill suppression. You'll have to do it all over again. So always in this order please. Here, we are combining the single master key with our color-corrected and spill- suppressed RGB foreground right here. The reason is we want to put them all together into a single RGBA four-channel image for the AddMix node.

It expects all four channels right here on the input. We are using the AddMix node because it has powerful additional features of being able to adjust the edges with those curves. If you don't need those curves, you could use a KeyMix node or do a premultiply and do the merge over. We will be looking at those workflows as well. Now that we have an overview of the general workflow, it's time to take a look at the specific techniques for creating and combining multiple keys into a single master composite.

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This video is part of

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Nuke 6 New Features

59 video lessons · 5834 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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