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Hi there.
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I'm Conrad, and welcome to my course on Retiming Footage in Nuke.
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In this course we will cover all of the retiming options available to us from
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the basics of adjusting frame ranges through to using optical flow technology to
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make footage playback much slower than it was shot.
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I'll also show you how to use expressions to link your
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retimes to other nodes in your script.
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In this lesson I'll explain to you the very basics of trimming down your
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source material and setting up your Nuke project to match.
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Nuke isn't great at browsing through large amounts of media,
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so by the time we've got to the compositing stage of the project we will
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want to know exactly which frames we will be working with.
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This should be done in the edit suite,
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and the edit should be locked before you start working on your visual effects.
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We'll be working with this clip of a guy celebrating with champagne.
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Let's assume we've already decided the part of the shot we
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want starts at frame 220 and ends at 274.
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This gives us 55 frames to work with.
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So here we are in a new Nuke script.
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You can see that by default Nuke creates a script
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with a frame range of 1 to 100,
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but when we load in our footage Nuke changes the frame
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range to match the length of the clip, 0 to 360.
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We want to change the frame range of the Nuke script to only
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show the frames we've selected in the edit.
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To change the frame range of the script we need to open the project settings.
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You can do this from either the Edit menu or with your
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cursor over the Node graph by hitting S.
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We will set our first frame to 220 and our last frame to 274.
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Now when we hit Play in the viewer we can see our selection.
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In a simple world this would be it,
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but imagine we have to add this clip to an existing project that
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already had other clips and animated key frames.
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If we were to adjust the frame range of that script we
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would mess up all of our existing work.
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Most video editing applications call the first frame of a clip frame 0,
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but in Visual Effects we start at frame 1.
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Actually, instead of frame 1 we usually start at 1001.
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This gives us some wiggle room if the edit does change after we've started or
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if we need pre-roll for any of our renders or simulations.
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If we started at frame 1 and needed to add frames to the head of our
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shot we would end up with negative frame numbers.
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It's possible, but it would cause all kinds of complications,
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so I'm going to set my start frame at 1001,
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and my end frame at 1055, 55 frames in total.
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Now if we go to our first frame and hit Play you'll
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see that we have a frozen image.
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This is because I've clicked when its frame range of 0
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to 360 is well outside our new range, which starts at 1001.
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Nuke is just holding the final frame of the clip as a freeze frame.
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If we change this frame range dropdown from Global to Input it changes the
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timeline to match whatever is connected to the viewer.
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It doesn't change the project frame range that we just set.
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This is useful to preview elements,
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but to save confusion it's best to keep it set to Global while you're working.
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So let's look at the different ways you can slip the timing of this clip,
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so that it lines up with your project.
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The first way is to use the controls inside the Read node.
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Here you can select the range of the source that you want Nuke to read in.
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I'm going to set the first frame to 220, and the last frame to 274.
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Nuke will now ignore all of the frames outside of this range,
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and treat frame 220 as the first frame of the clip.
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This still hasn't slipped the frames in time,
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but we can do that by selecting start at from this
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dropdown and entering 1001 in this box.
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This simply tells Nuke where in the timeline it
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should start playing the footage.
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In this case,
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it is now going to start playing frame 220 of the
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clip on frame 1001 of the timeline.
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This is a very logical process,
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but we're effectively trimming off the frames outside of our range.
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Nuke will never read them in.
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Usually this is okay,
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but there are some operations that might benefit from having
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extra frames outside of the working frame range.
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We could leave the frame range as it was,
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so we weren't losing any frames, but change the start frame to 781.
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This shifts frame 0 of the clip to frame 781 of the Nuke timeline,
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which means frame 220 lines up with 1001 of the project.
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Let's look at the other options in the frame dropdown.
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Offset slips the frames of the clip a given number of frames along the timeline.
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An offset of one means that frame two of the footage now
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lines up with frame one of the timeline.
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A -1 offset would move frame 2 of the footage to frame 3 of the timeline.
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So, in this case,
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an offset of -781 would line up frame 220 of the clip
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with frame 1001 on the timeline.
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We could also use the expression option.
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In this case, we would type in frame, -781.
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This is telling Nuke not to look at the current frame,
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but at a frame 781 frames back down the timeline.
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In this case,
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the expression option is overly complicated compared
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to the offset or start at options,
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but there are other expressions which makes this option more powerful.
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We could, for example, use an expression to speed up the footage.
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If we type frame*2 Nuke will take the frame number that we are viewing,
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multiply it by 2, and then read that frame in from the source.
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So frame one would become frame two, frame two would become frame four,
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frame three would become frame six and so on.
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Alternatively, we could slow down footage by a factor of 2 by using frame/2.
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In this case, frame two becomes frame one,
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frame four becomes frame two, and frame six becomes frame three.
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You can see that the Read node isn't doing any frame interpolation.
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It is simply rounding the result of the expression to the
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nearest whole number and displaying that frame.
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So if we wanted to have frame 220 line up with the first frame of our comp,
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but then play it back at double speed, we could use frame-891 in brackets,
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and then multiply the result of that by 2.
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If we sped the clip up by a factor of 2 frame 220 would become frame 110.
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Frame 1001 - 110 is 891,
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so that is the offset we need to apply to the frame number after we have
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sped it up to line 220 with our first frame of our comp.
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So you can see that we can do quite a lot right inside the Read node,
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but all these numbers can be a bit hard to visualize mentally.
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This is why the foundry added the Dope Sheets in Nuke a few versions back.
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It gives us a familiar timeline interface that helps us
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with these time-based operations.
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The Dope Sheet will display any Read nodes and certain
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time nodes that are in your script.
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We will also show any animated properties of any nodes
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that are open in the properties bin.
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With the Read node open you can see this gray bar that
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represents the frames of the footage.
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We can drag either end, like we would in an editing package,
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to trim the frame range of the clip,
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and we can slide the frames along the timeline to offset them.
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You can see the properties change in the node as you
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adjust them in the Dope Sheet,
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and the resulting numbers are the same that we entered manually before.
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So now that we have set up the project frame range,
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and lined up the frames that we want to work with,
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we are ready to start working on our shot.
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