All language subtitles for nuk309-class02

hello everyone

this is class No. 2 of nuke 3:09

Last week was a little bit on the theoretical side

this week we have a shot to do

so there is a lot of work ahead of us

but before we start

just a quick question and a pretty quick answer

so the big question we always ask

why do I get bad edges

we're talking about extraction of course

so in a perfect world

everything would have a solid edge

and we would create mats in a matter of seconds

and our life would be much easier

but in the real world

edges are fuzzy

or some of the edges are half transparent

especially when

solid edges out of focus

that's pretty self explanatory

solid edges

motion blurred

or the object itself is half transparent or translucent

and here we're talking about everything from hair

cloth rain fog

and so forth

so we have two uh basic issues to deal with them

the easy one is the hue

so of course

uh a green screen is green and a blue screen is blue

and we'll have green or blue in those fuzzy

edges that we need to get rid of

the other one is the big issue

Lumino City

so basically

a green screen is a flat

background that has

sort of a unified luminosity

and whenever you replace that background

and put something else

almost always the background that

you're going to put behind is gonna have

varying levels of luminosity

bright and dark

so wherever the luminosity

value of the new background does not match

the luminosity of the green screen

there is a potential for dark or bright edges

what we call bad edges

and that is very simple

so why do I get bad edges

because you're replacing the background

so this is a pretty common misconception

people think that once they created a perfect

clean extraction

they have the alpha or the mats and the color

and they combine them together

and now they expect to

put them over different backgrounds

and everything will work the same

but it won't

whenever you change the background

problems with edges will pop up again

so the point I'm trying to make here is very simple

your extraction really depends on the background

you're putting behind it

and whenever you change the background

or the color of the background

you have to be aware that it will also change

your extraction look

and that needs to be revisited

so now that I made my point

let's start working

so here we are

ready to go

I brought in the plate

I set it to start at frame 1

and the globals are set

to start to frame 1 to 1:20

and the correct format

I also brought in

the vector field with our grade from last class

it's always good to look at your comp

both ways so that you know how it looks

in the raw and how it looks in the quick time graded

and I also brought in the

four images

and one of them we should use for the background

so as I said just before

it's important to set the background first

let's just do this

and for that we'll do a really

really quick dirty extraction on this

so I like to use Primat for this

let's just swipe around

we really don't wanna spend too much time here

so we're going to quickly clean up the background

you can hold control and shift on windows and drag

that will clean up the whole area

or you can just hold control like I'm doing right now

we don't mind if it's a little dirty

just a little bit here

and as you see

I'm playing with the gamma to see both the um

the mat and the background

and now let's clean up the mat itself

so that it doesn't have too many holes

so right here

and right here

and that would be good for our purposes

oop I got some

background noise to clean up here

yeah I think that's good enough

okay let's bring the gamma back

and this is about as dirty as we can get

um the other thing I wanna bring up at this point is um

spill suppression

so in your class material

you should have the Pixel Fudger plugin

it's a little set of plugins that's available for free

and the kill spill is probably the best spiller I know

I really like using it

I think that once you use it

you'll never wanna go back to other methods

um so it's easy to install

just drop them in the plugins folder

and uh let's use that just to kill the spiel

so we don't have that green because that may

might confuse us when we do the color

for the background

um so let's go into that bringing the keel spiel

and now we just wanna copy the mat

our prime mat

and copy the color through the spiel suppression

and let's pre multiply this

and now we have an ugly

but usable mat for setting the backgrounds

now let's put something behind and see how it looks

if we look at these

these are 5K

um these are steals um

so of course we need to reform at them just to explain

as you can see there are in the shoe store

so we need to

make them feel like they are in a shoe store

this one looks like it's the outside of the store

but let's just try this one

so we just wanna reform at it

and we wanna put our foreground over

well yeah that

that makes them look like they're outside the store

so this one we can delete

let's try this one

the same thing

it's outside the store

so we're left with two um

that one feels like it's gonna be problematic

um for several reasons

the angle feels a little weird

even if we tweak the scaling so forth

um the other thing is the lighting on them

if you look at the plate

let's see when she's in focus

the um the red haired girl

um there is

some kind of strong light coming from this side

which we don't quite feel here actually

we feel like the light is coming from the other

way around we can try and uh flop it

but that's not looking great either

let's try the last one

and obviously that one would make the best candidate

with a little bit of tweaking

so let's do that

now at this point

before we start repositioning the background to

uh to work uh

it might be a good idea to track it in um

since there is a lot of uh camera

it's kind of handheld camera move

so um we wanna do that because we wanna know uh

if we rescale it

how much of it goes out of frame and so forth

cause it's moving quite a lot there

so uh let's add a tracker node

and I don't think I need to teach you how to track

pointing 2D

that's I'm sure you all know

but just two things

one advice is I usually turn off the blue channel

just because it's the noisy one

and it usually helps to get a cleaner track

the other thing

just looking at these specific footage

we start off with the tracking markers

completely out of focus and then they come in focus

so it might actually be a good idea

to track from the end towards the beginning

um just so that we start with in focus trackers

so um you know let's add a track here

we wanna get this nice marker

maybe expand the range a little bit

and that's about it

you can let it track

and I usually

as it goes I'm tracking backwards

I usually just look at the

at this window and as long as I see that nothing is

moving or hardly moving

I know that I have a good enough track

which uh it looks like this

so this is about as easy as it can get

let's see how it handles the uh

out of focus

everything is great

so we got a track

no problem there

now we're gonna use this track for a lot of things

because everything moves in this shot

this kind of the same way

we're gonna use it for the background

but we can also use it for any paint work

uh that we can track any rotos and so forth

so this will be our master track here

let's just change it

the transform from non to match move one point

and now we can always

clone that track and use it everywhere

so let's just do that

old K to clone

and we'll put this

so now and um

we can look at it at

8 so it goes fast

we have a track

now a little trick you know

sometimes when you track a green screen like this

everything feels almost too perfect

like the background is uh

moving exactly like the foreground

uh now on Small Moves like this

there really is not gonna be a lot of parallax

but if you wanna loosen up the track just a little bit

to get a bit more of a kind of a natural feel um

you can fake that by simply adding a little expression

if I go into my tracker transform and um

let's open the curve 80 tour

and these are my translate X and y

on the track

you can select them just that movement and

let's edit the expression here

and we just wanna divide the curve

to make it basically just loosen it up a little bit

so we can do curve times

point nine or let's try point eight

and do the same for the y times

point eight

and we can watch this again

well that might be a little too much

but we can always change it later to point 9

you can see in your curves here

this is the original curve

and this is how we kind of squeezed it in a little bit

so it's not matching perfectly

um for now let's use um

you know let's set it to point 9

I think it's a bit

a bit too exaggerated so

just adding a tiny bit of

leeway there

and you can see that

our curves are now getting closer to the original

now it's a good idea

from time to time to clear your cash

especially the buffers that get feeling pretty quick

and things are slowing down

I usually clear all three of them

but for this cash and layback cash

uh so uh let

and let's go back to uh one

cause we wanna look at it

so yeah okay

here's our background

the one thing

except for the color of course

which is totally off

um the one thing that

strikes me is that perspective is wrong

um it feels like we're looking

uh too much down uh

we see too much of the floor

the mannequin just behind her seems awfully high um

what we wanna do and try and adjust as much as we can

since we only have one steel image here

there's not a lot we can do

but we can definitely scale it up a little bit

let's try that

um and then try and move it down as much as we can

that already feels much better

let's make it smaller cause once we scale it up

we're making

the whole environment behind them a little too tight

let's try point um 1.05

um and we get a black edge there it's good

but it almost feels like we wanna lower it a little bit

more and at this point uh yeah

because it feels like the camera is looking slightly up

so that kind of feels better

what if we make it a little bigger

well that's not too bad um now here's our problem

so when we move the background down at the beginning

we're missing a piece at the top

I kind of like this

um let's look at the beginning again

so what if we make it a little bit smaller

let's keep it at 1.1

so that feels pretty good

if that feels good

then our only issue here is um

extending the top to fill in this little gap there

which we can do later on

it's pretty simple and we have to remember that um

the background will be kind of out of focus

throughout the shot

depending on the rock

um so it's probably not a giant matte painting work

probably just extending the color to feeling the

the ceiling there

so let's keep that

maybe just raise it a tiny bit

something like that

um this is good

now the it's time to add a little defocus there

just to see the background to make it feel better

and what we wanna know

I mean we already analyze the shot

and we know that there is a rock focus going on

what we wanna know is where it happens so

a good way to do that is to look at the girl in focus

and see where she starts going out of focus

so now she's definitely out of focus so I'd say

if you look here at her shirt

this is already starting

so I'd say 20s the beginning

then we can look at the girl that goes in focus

and see where she's fully sharpened

there is no more change on her

and it looks like this happens around 34

so remember this range 20 to 34

this is our rack focus

range because we'll need to do it

to use it for several things

for now we just wanna apply to the uh

the background

so that will go after the the tracker

um let's just add um a filter

and that's gonna be a simple defocus of course

there is no Z defocus because we don't have a Z depth

and we probably don't need it

the whole shot is very shallow

um depth of field

so it's either in focus or not in focus

um so let's go to frame twenty

that's our last frame of before the rock

and she's completely out of focus so we can

put the background pretty much

let's try 20

I'd even go with 30

now what confuses us is our bad edges

and this also shows how important and how hard

the focus edges are because our extraction is really

really hard matte

um things just don't look the same

but I'm looking at her eyes

and her mouth and the features on her

and I'm thinking between 20 and 30

that's uh the right amount of the focus there

um let's keep it 25 and um

set a keyframe there

and let's move to the end of the rock focus

which we said is 34

and now we wanna put it back in focus

but looking at the other girl and again

don't let these hard edges confuse you

she's pretty much out of focus by this time

so it might be a good idea to put the background

just a little bit out of focus behind her

I mean we can't even cheat on that

let's try five

yeah five or four

just a little bit defocused

and that would give us kind of a nice range

now the next thing we wanna do

of course is color

currently it's completely off

and you know

when it gets to color

and I think color is the essence of compositing

or visual effects in general

it becomes very subjective

there are no rules and there are no um

precise methods

it's not like tracking or getting a 3D camera

uh there is no precision tools here

uh it it has to work by eye

and there are different

ways and different methods to colorize

some people like to start with setting the whites and

the blacks um

I usually prefer to start with the simplest

thing and go from simple to uh

more advanced so to say

so let's add a grade note

so instead of trying to set the black point

and white point

I start by setting a general

color tone to the whole thing

using again

um because what we can see now is that

the background looks very kind of warmish

greenish and the foreground is much more bluish

and a good way to assess this is looking at

natural whites and natural grays

so we wanna look at her shirt

we wanna look at her shirt

we wanna look at this shoe

we wanna look at this shoe

we don't wanna look at the red hair

or the blue jeans jacket

which already have a hue to them

so let's try starting by

just darkening the whole thing a little bit

and

adding blue back

alright

this is starting to look better

um the white still feel a little bit too green

maybe we need to pull a little bit of it um

and maybe a little bit more blue

yeah something like this that's

I think much closer

um no another thing is the blacks in the background

feel awfully strong

I mean don't look at the top

because it's just a hole that we didn't fix it

but you look here

you look here

you look at this mannequin

now blacks are tough

because you don't wanna lift them too much

start getting everything kind of um

fuzzy and decontrustee

decontrusted

but um let's add a little bit of leaf

let's say like point zero

zero five yeah

it's just giving it a little bit you know

making it a little bit closer to the foreground

because you look at her hair

her head you look at these shoe

the blacks are you know are not that pronounced

so this is without lifting the blacks

it definitely feels a bit too punchy um

this is with a little lift of the blacks

not too much and that's working better

now let's see what else we can do

so there is something a bit too flat in this image

it's it definitely doesn't match the lighting on them

and we can get a better sense of it here or you know

we can also do is look at this through our grade

which actually is a good idea to do now

because the Grade

a punches up the colours and the contrast much more

and this is actually feeling pretty nice already um

you see the sense of strong light on on the girl's face

and on this one too

if you look at it when she's in focus

you can see the back is dark

you can see it on his on her shirt

on her hands

and there is a little bit of it in here

in the actual image

but we might wanna make it even

more pronounced

so what we can do first of all is

and I like using the multiply as a second gain

because it is what it is

multiplying gain are the same

in the um in the great note

so let's take the whole thing down

um maybe this is too much

but let's start from this

so now everything is kind of darkish

but what we wanna do is brighten up this area

to make it feel

you know kind of

add some lighting depth

so let's let's add another grade

now this one we wanna put

after the reformat

just because we're gonna use a roto

to constrain it

and we don't wanna have a problem

with the roto not being in the right format

let's put a rectangle right about here

let's give it a lot of blur

and say 1,000

so it's very fragile

and let's start pulling the gain here

and

you know as I pull it's starting to feel

pretty nice let's settle for like 1.9

and now we can move that and exactly define where we

want that that grading or to occur

now this feels pretty good we might wanna

lift the blacks a little bit more now

um this is not bad

you know I mean

right now the thing that throws us off is the bad edges

uh being so bright over so they feel like they

are totally cut out against that dark background

but of course when we start working on our extraction

things are going to start blending in

so um let's use this as a starting point and again

now we're looking at it

through the grade

let's look at it in raw

it feels you know

more even because there's not so much contrast pool

let's keep it like this

we can always tweak it

just remember that when you tweak your background

you have to look at your extraction

make sure that everything still works the same okay

um I think that now it's time to start working on the

extraction itself

and of course

the first thing we wanna do is get rid of these markers

now this is not a

a big deal because they don't

uh you know

fortunately

they don't go underneath the girls

and don't go through hair or anything like that

um that should be an easy thing to do

so um let's put in a paint note here

and what we wanna do is we wanna do a one time paint

and heavy tracked

so uh we can take the our tracker

uh we wanna go to the um translate X y

and we want to copy uh copy links

so it's gonna keep it linked to our Roto pane

then go to our Roto pane

select the root node

go to transform and we wanna paste this

and we wanna pace absolute of course

so now they're linked and whatever we paint

anywhere in here should follow through

so uh let's select the clone tool

and one thing you wanna make sure you do is change it

from single to all so that it

won't be a single frame or anything like that

and now we just wanna paint these over

um so this is one

maybe go to another frame where it's more

okay maybe it's a good idea to do it

at the beginning where they're out of focus and we can

definitely if you see some poking up steel

you can paint over

and the last one

and just now check and see

now if it's a little different here

we still have a little bit here

just make sure you paint from an angle

that's not gonna catch her or anything

um here's a little one pointing here

so just do a little clean up

and that should be it if you see a little bit of uh oh

this guy is persistent

so this guy is getting really close to her head

so we have to be a little bit more careful here

I think that's about the closest it gets

um that's it if the

green feels a little different or anything like that

that's not a big issue

all of these will go away with the extraction

here's a little one pointing

the only thing you wanna make sure is that

you don't have any yellow in there or red

cause that's of course not gonna key all right

so this is our

plate with the markers painted out

let's add a no op node

and the reason I'm doing it is simply is I mean you

can put a point

it's the same idea

but we're going to connect different things to this

input and if you change anything over here

the plate it's easier to have something in between

so you don't have to reconnect all the connections

that's about it

now we're gonna use the IBK

um extraction

and I just wanna say something about the IBK

the reason I like using it

is because it's not a pre multiplied extraction

that is you don't

you're not painting in black

everything that's outside the mat

so the extraction is very noisy and dirty

what I became

does is kind of camouflage all this dirt and noise by

coloring it to the color of the background

um the the advantage of using the IBK is

you can get much softer

edges and much better blends

the disadvantage is that usually

the core will not be totally solid

and that's why you wanna add the core

uh extraction to it

um the other thing is that the IBK

like every other extraction algorithm has some quirks

that you have to

um go around

but it's definitely

my preferred method

um so we'll start by adding an IBK color node

and the IBK colored

just is there to create

to tell the IBK extractor what color

the green screen is

and it does that by creating a sort of a clean

green screen

so what you need to do is

you need to make sure that all

the everything that's green screen is green

and everything that's not green screen is black

and as you can see right now

we have lots of holes in here

and that really depends on the

luminosity values of the green screen

so basically you wanna

play with the darks and lights

to get this filled in so um

let's start with the um darks

and you can see that as you uh

push these in

you're starting to feel in the blacks

but you're also starting to get blacks

uh on the green screen

so for that you need to go into the lights

and compensate for that

so it's it's a bit of a tweaking

um let's set this to uh

let's set this higher

okay there is a little bit of holes there

but what you can see is that part which is all her hair

is becoming a sort of half transparent

and that's exactly what you want

if you'll have this part

the hair all black

the extraction is gonna be too harsh there

if you have

you see all the hair here kind of in between

that will be the precise setup

so you can also tweak the IBK color as

you proceed with your extraction

you don't have to set everything right now

but you can see it will affect the IBK extractor a lot

so next comes in the IBK here

or gizmo as it's called

and of course you want to connect

your coloring food through the color

and your foreground to your foreground

let's just put make it a little cleaner

and very importantly the BG

you wanna connect that

and while we do that

and here's our BG

I think we wanna add grain at this stage

and you know

a lot of people

add the grain to the background right at the end

but the grain really helps with

figuring out the extraction

because a lot of noise that we

see on a non grained image kind of gets hidden

when there is grain

and it's confusing to extract

and have this noise without adding some grain

so let's do it right now

and let's use our old dirty extraction for it

just to add some grain in there

we can look at the blue channel

and you see how grainy that feels

and how clean our images

so right at the end

we want to add a grain old

and we're looking at the blue channel

it feels a bit too big

and a bit too strong

what we wanna make sure is that we have

enough grain in the darks or in the blacks

and if you see at the um image here

there is a lot of it in the darks in the blue channel

and if we just take the blue

because now it's too strong and start reducing

it will lose a lot of it in the darks

so what you wanna do is first set the blacks

and we can set it for all three channels

and let's add

let's see how much point one

well that's too much point zero one um

it's 2.005 so

now we have some grain in the blacks there

and now we can set the actual level

and it's way too high now

so for that you need to look at

different luminosity values

so we looked at the darks

now we can compare these to her here

and I think the blue should be actually a bit bigger

um and it's probably needs to be less than that

so let's reduce it to about this

let's look at the green way too strong

and the red red is

and we can see here that's a good comparison

um red is probably too big

the green is also a little too big green is fine

let's put it to 2.5

um we can push the green a little bit and push the red

don surprisingly

there's quite a lot of green in the red channel

now we don't have to set them totally precisely

we can always change

but we wanna have something in there

maybe a little bit more blue

and let's make the blue irregularity

same as the other stuff

um well that's good enough for now

you want to have that little bit of green

because it's going to help you with the IBK right

so let's look at all the color channels

and let's go back to our IBK gizmo right now

the alpha is wrong because we have to set it to green

now you have an option in the IBK to set

set it to pick and then you

you're basically gonna pick the color

same as like other extractors um

but now we're going to use

the sea green or the color green

which is our IBK color know that we just set up and um

as you can see

the Alpha or the mat is extremely dirty

but that doesn't

need to deter you

um this is the way it should be

and you can see all the nice color here

you can also see some green screen poking through

some really weird beats

now what are these beats

that's because in the IBK color

after we set

the black and the green

we didn't patch the black

so we basically want to shrink

all these black so that they don't pump out through

um you do that

you can go beyond

the slider let's put it to 8

and now we kind of have a nice clean green screen

and if we look back at the IBK gizmo

all these stuff that we saw before is now gone

now our background is already connected

and I wanna show you before we actually put it over

the background

what a background luminance and chroma

and luminance match do

so first of all

screen substruction is the built in screen

suppression and usually works very well

as you can see here

background luminance

look what happens when I bring it in

it's bringing in the luminance values of the background

and that ties it to exactly what we were talking about

at the beginning of the class

you wanna match luminance to your background

Chroma is going to match the hues

as you can see

it's becoming warmer to match the background

you have to be really careful about using Chroma

because sometimes it actually does things that you

don't want to

I'll show you in a moment uh

luminance match is usually used

um to push in the edges a little bit

and you can see how it's actually pushing

uh to get a bit of a cleaner extraction

usually at the expense of losing some detail

but the interesting thing is that you can see

how much detail you already are getting

and this is the point where I wanna talk about

the noising or degraining

a lot of compositors

uh start by degraining their plate before extracting

I am well I

I won't say I'm against it as a general rule

but I'm against it as a rule

when we're dealing with things that have a lot of wispy

detail like hair

and I wanna show you why of course

degraining the plate will make all the extraction

so much easier

and less noisier

and it's gonna be faster to work let's um

let's open the um

the degrain

the denoys tool

um which is really useful by the way

and let's look at our um

original plate

and we can certainly take that little

where are you here

and put it over the green screen to get a a noise so

let's look at it with the noise

so everything is much cleaner

but we're losing detail

um besides the fact that her eyes

if you look really closely

are getting a little blurry

and this is actually

the denoise is a very good algorithm

and there are other um

degrainers available

plugins that do a great job

but there is

there is no such thing as a lossless uh

degrain just doesn't exist

where you're taking out grain

um you're taking

you're taking out detail from the image

and the grainier the images

the more it will happen

unfortunately

look at her hair

that's without the grain

that's with

now there's still a lot of detail in there

because we're talking about 3K images

which is great

there's more pixel per strand so to say

but I would keep the idinois for creating a

format that will definitely make it better

or for certain areas

but first start um

doing the extraction without the noising

using the original grain

and just matching it on the background

because you wanna get as much detail as you want

and you don't wanna start blurring your image

so the noise is out for now

okay let's go back to our IBK

and after we looked at these

we want to make sure luminous match is not turned on

for now we want to leave Chroma out

I never ever use auto level

I don't even know what they do

but they certainly

don't look like they're doing something nice

um never use that

if anyone knows what this is for

I'll be happy to know

um in the luminance match

I almost never use this enable

and the luminance level

again not sure exactly what it does

um red weight and blue

green weight yes

but very carefully

and we look at it over the background

um let's put it over

so as you can see

I'm not pre multiplying anything

there's no pre multiplication here

and just connect to the background

and this is how it goes right now

so one thing you can see is

the amount of detail that we're getting on the hair

which is great

um compare this to our

uh you know

previous mat

um this is great

the amount of detail here

you can definitely see noise and grain

now one area where this happens a lot is of course

wherever something is the focus

as we talked earlier

the focus edges are hard

because they definitely just break into grain

as you can see here

so we'll have to treat these

and there are simple ways to do to do that

not in the IBK

uh one thing you wanna

be aware of is the added noise that it comes with

so one good way is to um

compare the background with and without your extraction

and see if there's added noise

and you can see a little bit of like all these

you know little things popping in there

but because we're having grain in there

they're kind of hidden

camouflaged

here too uh

there's definitely some noise in there

so over here

we might need to do something to reduce that amount

now I just wanna say something um

let me show you what happens when

you disable background luminance oh wow

there's plenty of noise that basically everything is

now popping now

background luminance is great to camouflage the noise

the only thing is that sometimes this goes on expensive

detail and on some occasions

on certain areas you want

you might wanna use a

separate IBK extractor

without the background luminance

to get some more detail

in the case here

um I'm not sure we'll use it

now here is a perfect example of what I said

at the beginning of the class um

we've replaced

a background

which has kind of a unified luminosity

it's actually pretty bright

throughout the whole image

we've replaced that with the background that goes

really bright here

but goes really dark there

and as you can see

everything already looks

pretty nice over the bright background

but things start looking weird

over the dark

and this is because we

replace the background

it's as simple as this

okay um let's look at the um

use background Chroma

and see if it

actually helps us here

so turn it on

um

it's a very subtle change

but you can see for example this girl's hair

um going slightly bluer to match the background um

let's see when she's in focus if this is helping us any

and again you can see when she's in focus

how much hair detail we're getting with the IBK

we're also getting a little bit of noisy stuff

um a little bit of an edge there

I think we can do without the background Chroma alright

so our time is starting to run out on this class

and there's still a lot to do

um we don't have a format

we have to treat the IBK

and we have to fix all these edges

and there's one great tool that I usually

use that will go through it

in the next class

called the Edge Blur

really simple to use and can help you a lot with that

what you will need to do for next week

of course feel free to go on and

you know do the shot

but one thing I'm already telling you

you'll have to do is a soft mat for one of the girls

uh just to separate them

and the reason is that they both are in different

focus levels

when one is in focus

the other one

is not and we wanna use a

hefty amount of edge blur to help with the focused ones

so we need to separate them

this should just be a rough

soft mat around her

just make sure that where the intersection happens

that it works well

we want to have a way to quickly

separate these two and give them separate treatments

and finally

you know you can use uh

the tracker for all your rotos

which will make everything much easier

because they are actually not moving a lot

uh what is moving is the camera

so if you use your

apply your tracker to the transform of your rottos

just like we did for the paint

that will make everything much faster

so we'll go back to this shot next week

feel free to go on with it

and next week we're gonna finish this shot

and then we'll start working on the balcony

so I'll see you all next week bye bye