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Using the matte tools

From: Nuke 6 New Features

Video: Using the matte tools

After you have the overlay adjusted for the best coverage of the backing screen, the next step is to use the Matte tools to adjust the matte density. The matte density is adjusted with the Matte tools and the Density tab. The Matte tools allow you to select pixels from the screen while the Density tab allows you to adjust the density parameters. We'll start by setting the viewer to the alpha channel so we can see our matte, and turn the viewer again way down. So we can see we've got some transparency here. This should be a solid matte.

Using the matte tools

After you have the overlay adjusted for the best coverage of the backing screen, the next step is to use the Matte tools to adjust the matte density. The matte density is adjusted with the Matte tools and the Density tab. The Matte tools allow you to select pixels from the screen while the Density tab allows you to adjust the density parameters. We'll start by setting the viewer to the alpha channel so we can see our matte, and turn the viewer again way down. So we can see we've got some transparency here. This should be a solid matte.

So, the way we fix that is we come up to the Matte Plus tool, meaning increase the matte density, and do an Alt+ Command, click and drag, and viola! Next, we'll turn the viewer gamma up, so we can take a look over here at the umbrella, which we wanted some transparency. So, if I'd like to increase the transparency, I will then select the Matte Minus tool and again Alt+Command+Click in order to say reduce the density of the matte in this area.

Okay, I'm going to undo all of that and home the viewer, so that we can take a look at the Density tab itself. Here's the Density tab, and this allows you to adjust the density of the matte in different parts of the picture: bright, dark, warm, cool. For example, the white shawl. If we look at the RGB we can see this is a very bright object. Oop! Let me put the viewer again down. This is supposed to be a very bright object, and it's terribly transparent. So I'm going to adjust the brights up and fill in the shawl. I'll undo that.

Now, down here is a Warm parameter. So, if we look at our original picture, we can see this red shawl, which is a warm color. Watch how it responds to an adjustment of the warm matte density. I can bring it up or down. I'll reset that. And similarly, the cool over here, the umbrella, you can see has very cool colors. So, I can lower and raise the density of the matte in the cool parts of the picture.

So, we'll home the viewer, undo all those adjustments, and set it back to RGB so that we can take a look at the edge kernel next. Let's zoom in to the picture and look at the dark edge along side the skirt. Very often you're composite will have these dark edges from light objects, so the edge kernel can help with that. Watch what happens with that dark edge as I adjust the edge kernel. See, it pulled it out. Now, let's take a look at the alpha channel to see what's going on.

The edge kernel does a density change along the edge here-- I'll exaggerate it, so that you can see-- does that density change along the edge to help tuck in those dark edges. We'll put that back to RGB and re-home the viewer. Now that the matte density is set, the next operation is the shadows. The Shadows tab is only enabled when there are shadows to process. Now, in this particular clip in order to actually capture these shadows, you're going to have to split the key, because this blue screen down here is a very different color than the blue screen up there. Back to our story.

To activate shadow processing, you select the Shadows tab and turn on enable. Let's set the viewer to the alpha channel, and we'll zoom in here to see some shadows. We can dial in the shadows first by increasing the low value up like this, and that brought the shadows in. And just to show you why you have to have this enabled, you can see the difference in the matte when the shadows calculations are enabled and disabled. Another adjustments you have is the blur, which softens the shadows. And to see the tint, we're going to have to go back to RGB.

By the way, you can also adjust the density while you're looking at it in the RGB mode. And the tint will give it a color. So, we'll pop up the color chooser, and we'll just select the nice red, and there you go. And I'm going to disable the shadows calculations and reset the Viewer. In the next video, we'll see how Ultimatte handles spill suppression.

Show transcript

This video is part of

Image for Nuke 6 New Features
Nuke 6 New Features

59 video lessons · 5804 viewers

Steve Wright
Author

 
Expand all | Collapse all
  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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