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[Autogenerated] All right,
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so we're gonna make a multilayered xar file out of all our different passes.
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We have three passes in our plate.
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We have the background plate.
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We have our helicopter shadows.
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We have a ambient occlusion puddle pass which darkens the
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ground that we have our primary color passes,
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which include our beauty pass.
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Just the rotor blades, body diffuse,
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indirect light reflections embody speculator.
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And then we have our NCD peas,
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which are non color data passes thes air for modifying the color passes.
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We have our body.
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For now, we have our depth of our ambient occlusion.
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We have a UV pass which represents the texture mapping coordinates.
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And then I have to multi map passes which allow me to use red green blue
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colors as masks for selection sets on our composite.
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And what we want to do is right now, all these images are discrete,
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separate images in nuke,
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and sometimes we want to assemble them into a single
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image file form or efficient compositing.
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So what we want to do is we want to start out with our plate.
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So we're gonna view that and let's bring the viewer over here,
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and we want to now take the copter shadows and we're gonna
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shuffle these into their own distinct passes.
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So we're gonna take the RGB a in and we'll send it out to a new
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layer or channel set called Copter Shadow Auto.
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Fill that in close and this one will be the same thing.
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It will be a new layer rgb a close.
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So now we've got our different passes shuffled in and now we're gonna grab
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our copy node and want to set this up to do a layer copies.
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We're gonna take the A of the new layer,
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the B of the background plate, and we're going to see a copy layer shadow.
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Until we get this connected, you'll notice that the data isn't here.
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The copter ao puddle is not listed.
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That won't be listed until we hit the A input so it can see that data coming in.
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And now you can see it's it's copter puddle pass
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and were able to copy that over.
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So now we have these three parts assembled and you can
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see over here RGB we have no Alfa.
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There we go.
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Copter, puddle, pass, copter shadow, Right.
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Awesome.
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So now let's go ahead and do the rest of these,
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but we're gonna do to mix it up a little bit.
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We're gonna do a shuffle copy on this next one,
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and we would take input number two and put number one.
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We're gonna bring over that beauty,
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so this beauty is going to go out to something new.
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So let's create a new output down here new.
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We'll call this the beauty copter Select.
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Okay?
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And it's gonna be coming in on input one to input One's gonna be Red,
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green,
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blue Alfa and everything else is coming through on input to So that was in
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a way to do it with within the shuffle copy as well.
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It takes a little bit more planning because of the
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confusing nature of the interface.
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But we're gonna add some channels.
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So after this, we're going to start.
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We're gonna add a bunch of new channels and let's go
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ahead and add the rotor beauty.
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Select.
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Okay, we're gonna add body diffuse.
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Okay.
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And so on.
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Body reflection RG via and hit close.
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So now we've added all of those.
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So now we have those over here,
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but what we need to do now is we need to bring them in and copy them in.
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So that's where we're gonna create another copy nut.
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We'll take that and we're gonna select it to their We're in a copy.
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The red, green, blue Alfa two are where they are.
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Roeder beauty green, red, green and blue and our ofa There we go.
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And that should now show right there often.
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So now I'm gonna go ahead and do that again for the next four items,
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and I'm gonna come back when it's all finished up because it's just
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a lot of rinse and repeat of these techniques.
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All right?
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All the passes have been put into all these different layers,
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and you can kind of see, I just went ahead and put all of these different ones.
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And then we used the shuffle technique with a copy set to layer.
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Copy each one.
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Now, at the bottom of this, you can see our list.
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It's fully populated.
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We have Alfa.
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We have depth beauty Body spec.
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Multi.
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Matt, you ve a o.
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Everything is represented here.
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What we're going to do now is we're gonna write this out.
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So let's set up a right nut.
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So let's put a right note right here.
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Put the viewer on top of there,
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and we're going to set this to write out a full a full
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xar file and render passes the e x r.
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And there's a couple things that we need to be made Sure off.
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Some of these render passes have floating point values,
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and they need to be saved in 32 bit float set at 2 32 bit xar and
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you're going to see right here it says Inter leave.
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It's gonna inter leave both channels,
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layers and views so all of that's gonna be into leaved in there.
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However,
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we do need to make sure that we take the channels appear and we
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set these to all because if we just do rgb,
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that's all it's gonna render.
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And if we could select any of the channels that we've
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created or the channel set layers we want all.
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So that way all of them are saved.
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So I'm gonna render, but render that one frame.
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May we go?
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Let's close that and let's re load.
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There it is.
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Render passes.
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You can see all the different passes.
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One, Meg seven Meg's whatever.
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Now we have one file that's 116 megabytes.
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This one file right here they hook up.
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The viewer has all the render passes in it.
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We can see that from the drop down, but drop downs kind of are annoying.
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So let's take new node called a layer contact sheet,
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and it's the layer contact she there to contact sheets.
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There's the contact sheet in the layered context because these
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air all into render layers or channel sets.
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So I'm gonna select this and I'm gonna display that.
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And what it's gonna do is it's going to separate every single render layer
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onto this contact sheet and show them simultaneously.
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Ah, great button and display.
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Is this right here?
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Show layer names because what that will do is it will now allow you to see all
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the different names associated with your various layers.
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So in the next clip, we're going to look at what I call Channel packing
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