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Nuke 5 Essential Training was created and produced by Steve Wright. We are honored to host his material in the lynda.com Online Training Library®.
Nuke 5 Essential Training is designed for digital artists already familiar with compositing visual effects using programs like Adobe After Effects or Shake. This course provides a solid foundation in operating Nuke, using the core functions of keying, motion tracking, and color correcting, as well as Nuke’s key strength, 3D compositing. Tour the Nuke user interface, its unique color management system, and overviews of HDR images, masking, keyframe animation, and 2D and 3D motion blur. Exercise files accompany the course.
So, we've got the geometry figured out for our Pan-N-Tile shot, but the last thing we have to do is set the Z-blend for the cards. Let me show you what that's about. We'll go back to 3D and let's orbit up above our cards. So, as we know these cards all intersect each other with a bit of an overlap.
The problem is the scene where the two cards intersect will give you rendering anomalies. There will be microscopic round off errors that will cost chattering as the renderer tries to calculate which card is in front, which card is in back. So, there is a fix for that built into the ScanlineRender node called the Z-blend. So, let's switch back to our 2D view, go to Frame1, set for 100% resolution here, double-click on the ScanlineRender node, and look for one of those scenes.
We are going to find one right about here. In fact let's zoom in a little bit. There you go. See this ugly jaggyness here? And watch as I step through the frame. See that? This chattering line here is the intersection between two cards. Remember, they are at 9.2 degrees. So, the render is continuously trying to decide which card is in front, which card is behind. So, the way we solve that in Nuke is we turn on the Z-Blend mode right here.
So, watch what happens to that little anomaly. When I set the Z-blend mode from None to Linear, poof, it almost went away. As I step through the shot, you see it's still got some twitchies. Well, that's what the Z-Blend range is for. As you increase this, this increases the distance that the renderer will blend between the polygons. So, I have increased it to 3. We step through it and now it's gone. Of course, a further assistance to this is to set the anti-aliasing on, so we want to turn the samples up to let's say 5.
This will help blend the pixels with the camera moves. So, now we can single step through it and the pixels are rock steady. They're no longer twitching. I've resized the Viewer, so that we can watch the finished movie one more time. So, this was an example of a totally no-frills Pan-N-Tile setup. All of the elements in here were mathematically perfect, so that you could see exactly the procedure for setting up a Pan-N-Tile shot without the usual messy encumbrances that you're going to encounter in the real world.
So, there you have it, a classic Nuke Pan-N-Tile shot.
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