All language subtitles for 11. Integrating and matching to reference

in this lesson

we will continue learning how to integrate our 3D

n live action elements together

to create a final rendered scene

we left off having created a very rough roto shape

to be able to simulate that warm foreground color tone

that was being added in

so now what we're gonna do is

we're going to actually implement that

so we we have our

our roto shape here

we could go about this two ways

we could either do a color grade

and actually color correct the element back in

or we could actually just drop a solid in

a constant solid in

and hold it inside the roto shape

and then just merge that on top

very similarly to the way

the matte painting artist was doing in Photoshop

so I think what we're going to do is

we're just gonna

we're gonna try a couple things

first off before I actually do this

I'm gonna turn this merge back on

and I'm gonna view

actually we're already viewing at that point

I'm gonna close that row shape

cause I don't wanna see it

but I am gonna set the merge

I'm gonna look and see

I believe from the map painting set up

they actually had it set to soft light

so let's just see what that does

alright so there's

there's the color shift right there

you can see it

actually did a nice uh

change to the overall tone

based upon what we were desiring for it to to be

now what we need to do is

we need to go a little further

obviously because that

that step isn't gonna match

at frame one

for instance

it's it's gonna kind of go off

off the reservation there a little bit

so what we'll do is

we'll go back to frame 100

and I'm going to replicate that

I think what we'll do

since we're talking about

either color correct

or using a constant

I think we're gonna try the constant

because setting this merge to a soft light

it actually looks reasonably good

for what we were wanting it to be

so let's just create a merge here

I'm gonna also then hit tab

and type in constant

a constant if you're not aware

is just literally

a constant color

a solid flat piece of color

based upon whatever the root format

resolution is

so let's view at that foreground warm

I'm gonna go down here

and let's just

will sample

see where should we sample it

looks like as a solid

right about there

so we can sample somewhere

right in there

to get that color

and now what I want to do is two things

I'm going to take that row shape here

and I'm going to set the merge to be in

and then I'm gonna go back here

and I'm gonna say

I want that constant inside

the rotor shape

now what I wanna do is

I'm gonna add

a shuffle after that constant

you can do it one of two ways

in the constant

you can actually set the alpha channel

to a solid one

or you could set the shuffle

and you could set the shuffle to a solid white

I like the shuffle node better

just because

if I ever go back

to change the constant

to resample the color

or whatever

then you know that you're always ensuring

that your alpha channel isn't being affected

so now we just view there

and you can see that we have a fall off

so let's just move our reference over here

and I'm gonna

I'm gonna drag everything down

just make a little more space

let's bring our background plate in a little bit

and I'm gonna actually connect this to that

just to see

how that looks

so view there

and you know

it's not bad

let's if we compare it to our reference

um you know

obviously there's

there's other integration that's still missing

but we're we're getting there

I think that that might actually uh

might actually fit the Bill now

you can see how the building is significantly darker

I'm going to be willing to bet yeah

that's partially because of that softly

unfortunately

operations in

nuke don't always match up to the Adobe operations

it's just a matter of

the math is just a little bit different

so sometimes when you

when you think you have the exact same operation

between the two

it doesn't guarantee that

you're gonna get the same result

but it's okay

for the moment we're

we're we're not

not at a loss for solutions at the

at the time being

so for now let's just take that

move that back up there

and just kind of organize things here

I'm actually gonna put the road over here

because it's a over B

so you kind of

so you can either do a over B

or a comes from the left

it really depends on how you do your

your comp setups and your preferences

and this one

I'm not gonna be too picky about it

sometimes I'm very picky about

a comes from top down

and B comes from left or right

but in this case

again like I said

I'm not gonna worry too much about it alright

so we're just gonna leave that layer right there

so we have it available for reference

alright so we have that input

now what we need to do

our next input is needing to add that fog

but first what I want to do is

I think we should do a quick

color correction on our actual background

background plate

this plate right here

it did have some color corrections done to it

so I think what we're going to do is at this

at this point

right here between the

the background plate and that merge node

let's just add a color correct

so you can hit that C key on the keyboard

and that brings it up

and what we're going to do

I think is and

and we're viewing right here so that

that helps us to see what's going on

I think what we might do

yeah we'll just

we'll sense this mess with the gamma for a moment

I think we'll

if we drop that down

we could try

let's try point seven

oh we're getting there um

yeah let's go further

actually uh point

let's try point five

hey well that's actually pretty close

actually might been just a little bit too far

what I'm doing is

I'm looking at the base of the building right here

in relation to its surrounding environment

I wanna make sure that that feels like it's

it's properly seated

you can see here

obviously just looks like it's floating

and the whole background plate is

very washed out as well

so what I'm doing is just

just bringing that gamma down a little bit

to properly see it and make it feel a little better

integrated into the background

now you can see

if we just AB it between our original reference

and that actually

that it helped a lot right there

that just brings it into the more proper color space

you can see the

the tones are

are matching

now obviously

our color is not matching

but that's okay

that's to be expected

so let's now view at that soft light

and see what happens okay

so now you can see

the soft light just completely destroys it

that doesn't match at all

which is okay

um we're gonna fix that

what I would suggest

instead of going with a soft light

let's reappraise

and maybe try adding either one of two things

we can either adjust the mix

so let's just try four kicks

let's try adjusting the mix

but you can see here

it's really

it's just either

just gonna darken it up

it's adding red hue

but it's just not working

so I think what we need to do is we can try

like overlay

overlay is not gonna work

um you know

we could just do an over and bring it in like that

but then you're

you're basically

killing a lot of that nice foreground detail

so I think what we're gonna do is

we're just gonna scrap that whole idea

and we're going to go with an

alternate scenario for how we can do this

what we'll do is

I'm gonna control X

cut all that out

never wanna delete stuff initially

until I'm for sure

guaranteed that I don't need it

and then I'm gonna add a color correct here

and we're gonna do it like we're saying

you know the alternate scenario of being able

either color correct or using a constant

so now our rotor shape is going to just be

utilized as an alpha control mask there

so let's just go in here

and we're going to adjust

I think will adjust the gain

so we're gonna gain and see

so I'm thinking we could adjust the gain

and then we might also

just a little bit saturation

we might actually be required to use a couple

more than one color

correct on this

so let's just try this

we switch to four channels

actually gonna switch over here as well

I'm thinking we can do

is drop this

down just a little bit

some around there

that range and make sure we're viewing okay

and you can see

just a slight change

what I think we need to do

also we need to

switch out the saturation here

let's drop down on the green and the blue

just take out a little bit of the green and the blue

on that as well

um now you can see the subtle change there

that's happening

and we set that

and then maybe bump up the contrast just a little bit

there we go

that's getting closer um

I'm suspicious

I think the matte painter

might have actually done a little bit of painting uh

on the actual plate

you can see

especially right around the building

right here where it's darker

it looks like it's

it's a little more seated um

kind of blends in a little more

cause you don't see as many highlights on the dirt

which also makes the building not float as much

so that that

what they did was totally acceptable

but we're going to have to do some adjustments

on the actual background plate to accommodate for that

you can also see over in this area here

it looks like it's uh

darkened up

like some of the

some of the highlights were muted a little bit so

so we'll work on that as well

okay so we have the contrast

I think on the game here

actually move that

there we go

I think I'm gonna bring that up just a little bit

one point maybe

one point oops

not 1.1 1.3

let's go a little further

uh 4 and then drop the blue down just a little bit more

alright so we're getting it a little closer

we're getting a little more into the red

a little more

little more warmer tones

you can see the shift already that's happening

so that's good

so now what I want to do is

I'm gonna add another color correct

and I think I'm gonna connect that back

into our rotor shape as well

and I think I'm going to bump the contrast on that

as well there we go

just go a little further

we could do it in the other one

I'm just gonna do

in this one

well since I'm here

I'm gonna swap out the

the gain again

so we have separate channels

I'm going to bring that up

just try 1.75

1.5 and we want a little more blue

so on point two

maybe let's

it's all it's all theoretical at the moment

we're just kinda

we're just kinda ballparking

and now we're getting a little closer

you can see how

the overall tones are getting a little closer

so that's good

now you can really

clearly see the areas that were definitely uh

hit uh with paint

so you can see all the edges there

you can see the highlights in that area right there

as well as over here

looks like it's just a little darker

so we'll deal with that a little bit

um alright so

let's continue on reaction I'm gonna

I'm gonna add just a little bit more red in there

there we go

like that alright

so now um alright

so let's add one more color

correct here

I just wanna try one more thing

uh feels like it's just a little bit

there we go

and that makes sense now

you know what

I have one thing though

I'm gonna go back to the original color correct

I think we need to adjust the midtones

just a little bit here with the game let's try

there we go

bring that down a little bit

just kind of flattens it out just a little bit

which I think it needs

yeah totally

and then on the highlights

I don't think it's gonna do much

but this is

bring that way out

you can see there's no change haha

cause there's no bright highlights to work with

but let's just drop that down

just in case there's any point where it does need that

and then alright

so now we're starting to see it

it's a lot closer

let's go to this final color

correct here

I'm gonna bump the gain in the master up

uh so now we're

we're closer

now you can see over here on the outer lying areas

things are getting a lot closer

it's not perfect

but I think at this point

it's in a good place for us to just call it a break

so let's stop here and we'll pick up in a moment

uh just a recap

we're working on integrating

our 3D and live action elements together

to create the final rendered scene