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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, we'll take a look at a couple of more screen controls right here for adjusting our matte. Let's set the Viewer back to Screen Matte, because again, this is the key that's being created by Keylight. Screen Gain is a contrast adjustment. As I turn that up, I am clearing out a lot of the noise, but I am also destroying edge detail. Look at here, okay. I'll reset that back to default. Screen Balance is adjusting the internal Keylight algorithm for the two secondary channels in the key.
If it's a green screen, the two secondary channels would be red and blue. On a blue screen, the two secondary would be red and green. So, it's adjusting the balance between the other two in pulling the original key. This particular example doesn't have any problem, but I'm going to go back to the Final Result. I am going to slide in a little thing here that is going to introduce this color swatch in front of the boy, and this will give the keyer a problem. Now, let's go back and look at our Screen Matte and sure enough, we have a semi-transparent region here, which can be fixed by adjusting the Screen Balance until it's gone. Ooh, is it gone? Well, let's check the Status.
No, it's still there, all right. So, I am going to use the Status to just inch up my adjustment until it just disappears. Bang! Okay. Now, we'll go back to Screen Matte, and we have a nice solid core matte. I am going to take my little Screen Balance node out of the node tree, and restore Screen Balance back to default. Next is the Alpha and Despill biases. We'll take a look at these two biases a little later. The last is the Screen PreBlur.
This is applying a blur to the original green screen before it pulls the key. Its main use is if you don't have a good de-grain tool, it'll knock some of the grain out of the picture. We'll zoom in here and see how grainy this is. If I apply the Screen PreBlur, it's actually again blurring the original green screen before pulling the key. Of course, if you have some good grain control tools, you would much rather use those here. So, we'll set that back to default and re-home the viewer.
A tip on the Screen Color issue, let me re-enable the eyedropper, is by pulling several different samples you can actually find a spot where you get your best key. Okay, so always try several different places. Keep in mind though, as you are getting a better and better key, you might be degrading your edges. For example, look at this little edge here. If I sample in this region, I get more edge detail, than if I sample over in this region. Next, we'll take a look at the Screen Matte menu.
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