Join Adam Crespi for an in-depth discussion in this video Setting blending modes and adjusting opacity, part of 3ds Max: Rendering Exteriors.
In Nuke, once you've got your footage read in, you can start to set up your different operations, like your merges. What I've done is to read in my footage and save this Nuke file as a 06_02_start.nk. Keep in mind that your Nuke files don't carry the images with them, they're actually very tiny little plain text script files that dictate what Nuke is doing. Images that go separate. So multiple Nuke files can reference one set of source images for example.To ge to a node in the properties tab, simply double click on it.
I'll double click on merge two and there is shows up on the top. You call also roll up your nodes by rolling up the arrow in top left, making it easier to see what all is arranged here. In merge two, I'll set the operation to multiply, and this is typical for ambient occlusion. I've made sure with merge two selected, I press one, which shows it in viewer one. Now pull down the timeline just a little bit. Organize my notes so I can see all that flow and click into view and press, H, to fill or fit it as best as possible.
The difference between fit and fill as shown here on our magnification is that fit fits at an even multiple magnification, for example 640 by 360. Fill Then, fills it well, whatever it takes to fill that image in the screen, and may apparently introduce some small aliasing artifacts because of the uneven zoom. It depends on what you want to see. Your image at a proper magnification or as big as possible, to judge color. What we can see here is that ambient occlusion adds grounding darkness to a lot of my image.
I'll show it without by selecting the beauty pass and pressing one. And we can see obviously the sky changes, but the image is lighter over all. When we pick that merge and press it the sky does darken, but all the little details and corners ground or have gravity to them. I'll do the same for my beauty pass for the day image and we'll really see a difference. Again, I'll double click on merge one press one to show it the view and set the operation to multiply. The grounding darkness really helps well make things sit down and pop out all the details.
Here's the difference again with the view d pass on it's own. Everything is there but it's kind of missing some detail. Some minor shadowing. With that merge on, everything sits down. And all the detail on the white on white object, such as the windows pops out. Now the sky does get darker and that's because that in that ambient inclusion image, there is a sky. We can mask it by an alpha if we need, but we're going to put in a custom sky anyway and so. We don't really care at the moment how it's looking.
What I'll also do in a lot of these merges is back off that mix. In this case, for merge one, I'll back off the mix or the opacity of that image to about 75% or so, and this way it's got a little less strength, a little less darkness on the occlusion. I'll do the same in merge two, again backing it off so it's not full strength, making sure to press one to show it. And now I've got my ambient occlusion adding darkness in my image grounding shadows but lessen the impact a little bit so it's not quite as heavy.
- Creating exterior materials
- Adding luster to glass and subtle detail to wood and siding
- Positioning the sun with the Daylight system
- Lighting using HDR imagery
- Lighting interior spaces
- Fine-tuning the photographic exposure
- Rendering and optimizing rendering
- Creating an ambient-occlusion rendering pass with custom materials
- Setting up additional rendering passes for compositing purposes
- Compositing and adding post effects in Nuke and After Effects