All language subtitles for 08. Using deep ScanlineRender

in this lesson

we will learn how to output deep images from Nuke

Scanline Rendernode

let's begin by first creating a scanline rendernode

here we have the deep tab

there's no settings except for drop 0 alpha samples

and in order to use this with our shot

we'll have to of course make some three geometry

let's start with something simple let's do a sphere

plug it into the object slash scene input

now we need a camera

and in this particular case

we have the camera for the Grolo shot

as an Olympic file

so we're gonna create a camera node

and it's important that the cameras match between

the CG and the nuke 3D scene

because if they don't

then the placement of objects in

in deep won't really correlate

and if the shot has a moving camera

then you really

you really won't uh

you really won't have anything useful to work with

so let's go to the file tab in the Camera Node

check read from file

open the file up growlo camera dot ABC load this in

yes we want to load in the data as we see here

now all this data is populated

now let's make a deep merge

just for the 3D scene

plug a into scan line render

take a look so we don't see anything at all yet

let's look at the scan line rendernote

where is our spear

here we go let's make it bigger

let's say uniform scale of sixteen

there we go

now of course the sphere is black

because we don't have any image input at all

let's make my favourite thing a checkerboard

so here we go

now we're seeing something that makes sense

and just right off the bat

we can see that it's fitting into our scene

it's fitting in of course

because deep allows it to be ordered correctly

now it's sitting right where Grolo is and that's

it's kind of silly

so let's move the sphere a little bit

so we can take a closer look at

how these integrate

there we go

I can see here that

you don't need to

have any of the scenes geometry for this to work

and it's actually helpful to

to do little fixes or add little things in

in compositing

because now you have this extra flexibility

that you can leverage

so this is great

we can add a sphere

but it's pretty rare

that you want to add a checkerboard sphere so

what can we do for this shot that's a bit more useful

for the shot

I decided that we were going to add some rain

so

the way we're gonna add rain is

we're going to use Nuke's particle system

so conveniently

the Foundry ships with some particle presets

so for this one we're gonna use the P

rain box particle preset

has some pretty simple controls

first thing we do is uncheck sprite mode

what that does is in sprite mode

the drop image input is what the raindrops look like

and it creates little sprites

which are basically just 2D cards that face the camera

when we turn this off

what it means is that the

raindrop images

that the foundries already built into this template

are the ones that we're going to be using

so we can use our own if you want to

but we're just gonna use the built in ones

streaks is fine

now this is just a group

so if you never use groups before

you can click on the s to show internal structure

and it'll open a tab here

a new nodegraph tab

so this is the particle system

they've already gone through and

exposed certain controls in the group

so we don't need to go

through this whole tree and make adjustments

all the adjustments to control the behavior

the particle system should be already exposed

in this group panel

let's go ahead and hook this up

and again we just view the scan line render

so here we've got a rain

this is quite small though so let's

make this bigger let's make a system scale 100

there we go

fills the fills the frame

which is what we want in this case

let's take a look at the deep merge

little hard to see unless I zoom in

we can see now that there's rain

so this is really great because without

without deep here

the rain would just be sitting on top

I can show you what that would look like

actually let me do a quick

color correction

make a grade node

actually

what I'll need to do is just quickly

make my own image

actually a faster way to show you this

would probably just be to use a

deep colour correction

just gain up gain up quite a bit

maybe something a bit over the top 100

okay so now we can see

what's happening here

so let's just make a normal color correction note

and I'll show you why in a second

gain to 100 okay so

gonna make two images here that we can compare with

just put the rain in 2D no deep over a rollo composite

so by compare these two

what you should see pretty clearly

is that just putting the rain over

the rain doesn't integrate at all

it's just being put on top of our frame

it's not integrating with the scene

we look at the deep comp

and see that the intersections are actually working

and this this is obviously much more realistic

so this is a really convenient way to do things

cause if we didn't have deep

we'd have to go through and make

make some roto to hold this out or something

and that would be time consuming

and if the camera was moving

or the character was animated

it would be even more time consuming

and it might not even look as good

so what I go through now is

set this up with pre comps

because we need to make holdouts for this

we don't want to run this live

okay here we go

so I've integrated our rain set up

with all of our other deep holdouts

so this is the Grolo holdouts

that we built in our previous lesson

and this is the rain holdouts

we've got the rainbox particle system

scan line render and camera

and it's the same setup as last time

we've got deep merge set to combine

which is connecting to everything else

and then we are doing the same holdout that we do

with every other one

and I've gone ahead

and I've rendered a holdout already

so this is this is our holdout

and because it's coming from Scanlan render

it doesn't have all of the other

AAVs that we normally get from the CG render

CG render obviously has many

many more OVs than nuke scan

like Windows supports

but I did go ahead and make an ID map for the rain

so that when we do our compositing

after it's been combined

we can leverage the ID map

if we want to color correct the rain separately

we go down these are being merged together take a look

ID rain is in here

so there we go we've now used scan line render

output deep from it

and use that to add rain to our shot

we're gonna move on to the next lesson