All language subtitles for nuk309-class03

hello everyone

this is class No. 3 of Nuke 3:09

and this time I don't have any uh

exciting Powerpoint presentation to show you

uh we have a lot of work to do

so let's just get to the business

so I'm picking up exactly where we stopped last week

and first let's clean up um

this stuff here

this is the old temporary extraction that we did

we really don't need it here anymore

now as you remember last week we looked at um

the beat of noise that we have from the IBK

extraction over here generally

and one way to reduce that is to cheat the background

that goes through the IBK and make it darker

or at least make the blacks darker

so if we had a grade note here

where the background goes into the IBK

we can go to the lift and basically go down

and as you can see

we can control the um

the color of the noise over here

um let's see here too

it's helping a little bit

yeah and you wanna look at the brighter parts and

see that you're not um

destroying anything nice that you had

let's go to where she's in focus and turn it off and on

and actually

it's helping because it's

getting us a little bit more hair detail in there

that kind of got lost before

uh it might be a little

um too hard

edgy at this point

but we'll see

it again with edge blur

so let's keep it like this for now and see what we get

later on we can always turn it off

now as you remember

I asked you to create a mat for her

a soft mat around one of the girls

so we can separate them

I have a roto here and it's very rough

and it's tracked to the track so it moves with her

and

um so one thing we wanna do is try and help those

edge blurred

I'm sorry those defoccused edges

and let's look at her when she's out of focus

and you can see you know

the way they look right now

um we wanna make them feel a bit more integral and

out of focus

and for this we can use an edge blur

and it's a great tool

it's a great little note that I use a lot

because you can not only control the

softness of the edges

you can also use it to control the color

luminosity of the edges so um

let's add an edge blur right before the IBK goes over

the background

and for now it's going to be applied to both of them

of course we wanna separate

so the edge blur is now set to 3

and you can see doing its thing on the um

on the noisy edges there

now remember that we're working on a 3K image

so values for blur should go higher than you

think because really this goes by pixels

let's set it for 20

and you see how nicely it's now softening her hair

and making it look more out of focus

of course now it's hitting this girl

which we don't want to

but we'll take care of it in a moment

another thing we wanna use the edge blur

for is when she's out of focus

you can see that the edges of her hair feel too bright

um in a little too greenish maybe

and we can use the brightness

and tint on the edge blur to kind of heat that

so if we reduce the brightness a little

um it's hitting also the center here

but as as I said before

we're going to use different extraction for that

so we really only wanna look at the edges

we don't wanna go too far

but this is kind of helping

and we can also control the tint

maybe take a little bit of green

out of it to make it feel a bit more reddish

not too much something like this

and this is already helping

now if you look very closely

you'll see that we're starting to lose grain

on the focused on the

wherever we have the edge blur

and this is natural

I'll show you later on how you can put the

grain back in only in these areas

for now this is pretty nice

so we have to animate this blur because as she

goes in focus with the rock focus

we want to reduce that to match

so let's go to frame 20

and we want to put a

a keyframe here for the size

and probably for whatever else we change

so that would be the tint and the brightness

and now let's go to frame 34

which is the end of our rack

and of course

now you can see she's all blurry at the edges

we wanna reduce these back to say three

to keep her nice and sharp ah

let's try and putting this back to the original value

the tint and the brightness

um so let's put this at 1

and a key frame there let's put the tint at 1

um

and that's it

now we wanna do something similar for the other girl

so we need to split

our comb for the Edgewood to have another one for her

this is where the Rodo comes in handy

so let's add a key mix here

and

the edge blur for the woman will go into the a

because we have the rotto for the a

and of course in a key mix

um everything that

goes into the a will be affected by the mat

and everything that's outside the mat

will go into the B

and this is our B

um and let's put another edge blur here

and it's a good idea to put some softness on this mat

so we don't have anything weird

happening let's put 20 in there

um so for the other girl

we're gonna start of course with an edge of lower three

which is what we're having now and

you can see it affecting just a little bit

they are just killing off some of that draininess

and that's good we might need to make it a bit higher

but for now let's keep it at three

and of course we wanna put our keyframe at twenty

and let's keyframe the size

let's also keyframe the tint and brightness if we

will wanna change those

and now let's go to frame 34 we wanna

put this to about 20 to get nice soft edges

and we might wanna reduce the brightness slightly

to get rid of some of those dark edges

and I think that is looking pretty nice like this

so there you go now two different

the focuses and two different edge blurs going on them

okay time to clear up the cash

um let's do that right now

clear buffer is

and let's go and create the format

and for that of course we wanna use the prime mat

and this time we wanna be really careful

we wanna create a mat that's

um really really sharp black and white so

let's start by this

let's see if we can swipe somewhere else

maybe around the center

uh clean the BG noise

so it's kind of like what we already did

now just we're trying to

make it a bit more defined and cleaner

and again I'm gambling up to see all the little

points that we wanna keep it as clean as possible

and I'll show you why in a moment

and this is of course going to be a very hard mat

but that's fine with us

a little bit more here

and now let's gamma down

and do the same for the uh FG

and as we do that it might bring back

some back into the background which is fine

okay let's gamma back to about the middle

see if we need to clean any BG

yeah there's a little bit here a little bit there

now the reason we want this mat to be very very um

accurate or precise

um is because we're really going to use it only to tell

nuke where to use the actual plate

and not do any kind of over with the background

basically everything at the core in the middle of these

uh two girls or our subject or foreground

should just be the plate

maybe with some uh dispel going on

and that's all

but for that

we wanna shrink this mat quite a lot to keep the edges

clean so that these will be used by the IBK

so um if we add um

um let's say in a road node here

look at the Alpha and we start dilating down

you'll see that even the smallest

tiny pixels that are black and really

it's even hard to tell

you see these little tiny

tiny little ones

like one pixel or half a pixel wide

when we start dilating

they become gigantic holes

and this is not good

because these holes will show through um

but since we did already a pretty clean prime mat

we can use instead of the regular dilate

the road dilate

which is much better for this

and this time it

it's a little confusing because instead of going minus

you wanna go plus to eroded

but you see that the erosion is very clean

and on top of that

we can blur the edges to get a nicer transition

how much to do really depends on what it looks like

so we now wanna do this

we have our IBK with the background on top

we wanna add a keymix here

let's do that

and into the I a channel

we basically want to plug in the plate

and into that we want to plug our Ma

oh for some reason the serge blur got disconnected

let's connect it again

now you can see that our mat is extending too much

let's kill the key mix and we see the IBK

oh looks nice

the Maddie is extending too much

we see the green

which will take care of in a moment

but that actually helps us to see how much we're using

and you know

it depends on the areas like over the

where the edges are harder like here

it works kind of well over here not too much

so we need to extend the erosion

maybe reduce the blur

let's just do that until

we are left with just the IBK at the top

so what we're doing is we're putting back the plate

everywhere in the center

so you can see that without it

we had all kinds of issues with the IBK not being

uh fully opaque like here

and once we do that

we're filling in with the right color however

it still feels a little greenish

and that's why we want to use the kill spiel

um over the whole plate

in this case

we just wanna make sure that we're

not dispeeling things that should actually be green

or exaggerating the spill

so this is our channel that goes from

the plate directly into the Chemix

uh let's add um

a kill spill there

not here here

and let's just look at it and compare it to the plate

so what you wanna make sure is that

you're really killing only the green stuff and not

anything else and

just by default I mean

you have ways to tweak the spill and tweak the colours

but it seems pretty right to me

because there is a little bit of green

um reflection going on on her jacket

which we're removing

there's definitely some green on the skin tone

like if you look here or here

but it's very subtle

and that's why I like Kill Spiel

it's not really changing a lot of the colours

just taking out the green

so I think that's right

now let's look again at the whole thing

and um that's without the spill suppression

you can see

for example

on that shoe

that there is a little bit of that green hue

or on the everything that is natural

you can see very easily

and that is helping

so now we have edges controlled by the IBK

everything in the center is basically just a plate

and we're using the prime at

to define where we just use the plate

so this is the basic setup

and we managed to get a lot of detail in the extraction

we managed to

deal with the changing focus levels and

create a core

and from here on

it's basically trading specific edges

and making everything look better

and the best way to do it is to render out

and um compare to the plate

um see where you have noisy edges

for example

when I go back to her

um um in the focus

I definitely feel that this

edge right here feels too bright

so you have different ways to do it

I mean you wanna do a soft matte around it

a soft roto

and maybe um

put another IBK gizmo connected and do a

chemix between them

and for that area

tweak the IBK

for example

in the IBK um

you can tweak the red weight and

blue green weight

to darken or color correct the edges slightly

uh you just wanna make sure that you don't do it over

the whole thing because

you wanna keep the consistency between

the real plate

and the IBK

so if you start tweaking too much

as you can see

you're gonna get this

so this is where our real plate is

this is where the IBK takes over

and you definitely don't

don't wanna do that

and really it's a matter of isolating specific

areas with a soft roto

just like we did here

and tweaking them differently

apart from that

I promise to show you

anti grain back into the

the edge blur

and let's just look here

and you see that area

and that doesn't feel good and might pop up when you

color grade or correct

so usually the way to do that

um you wanna take your edge blur

and you wanna output

a channel and you wanna create a new channel

or a new layer for that

so let's create new we'll call it blur

dot alpha cause we wanna put that in the alpha

channel and we wanna do the same here

so here we can just use the blur dot alpha

we want both of them and um

we should be able to see that if we change to the blur

now you can see it's catching a lot of stuff

and it's a bit confusing

because the blur is very wide here

but it will probably be still useful

let's go back to RGBA

so now we wanna add another keymix

and we wanna clone our drain or let's copy it

because we might wanna tweak it slightly

so we don't wanna clone it and put here

we don't wanna go through

um the alpha

cause we were using the key mix as the alpha

and now we wanna grab is our channel for the key mix

the Blur Alpha

so mass channel would be Blur Alpha

and as you can see

we're adding back

the grain into the blur

now it's also affecting a little bit

what's going around there

this is natural because we're using a very soft matte

and the blur is also affecting all the noise in the IVK

but it's not going to make a huge difference

and it help us really fix that

add back rain to those blurred edges

especially where they're really blurred

like look here on that girl

you know without adding that grain

we really have a weird kind of soft band

and you know

if it's too much

if you wanna reduce it

just reduce the mix on the key mix

just get a little bit in there

something like this

or a little bit more

and that should work

okay so at this point

you really wanna render out of version

and watch it in hero

for example

because there will

there will always be things that will jump out to you

that you only see when it's in motion

so it's always a good idea to go ahead and

render a version

look at it make notes

and then go back and fix those things

before you render

you wanna just check that everything is okay

and when I'm looking at what I have so far

well I'm seeing that our background

um goes out of frame on the sides

and this really shouldn't be the case

because we know that we have a piece at the top

but uh there's something weird going on

and this must be related to a bounding box

so if we go back to our reformat for the background

yeah preserve bounding box is off

if we turn it on

um then this is fixed

the other thing also related to bounding box um

EXRS will actually render the whole bounding box

not just the viewable frame

so if you look at your end

at the end of the comp

you see where the bounding box is

if you're entering EXRS

they will actually include all this area

so what you wanna do is add a reformat node

uh right there at the end

just to a constrain

the bounding box

so this is ready to render

you can add a right note here

and don't forget to render linear

just like you brought it in

we're talking about the XRS of course

if you want

you can also render um

and now VDNX

HD quick time

through the vector field

through the color

but usually it's

it's faster to just render it out of the rendered frame

so you want to first render the E XRS

so let's just do that

and go to hero

so if you remember in the first class

I said that we'll find some time during the course to

um take a look at some of the features of hero

so this is a good opportunity to do that

and I wanna talk

especially about features that relate to hero

is a review tool

uh because these features also apply to the much uh

cheaper more affordable version

the hero player

so let's first create

um a sequence

and now we can bring in uh

let's start with our plate

so let's bring in the plate

and let me just clear the play bank cash

and now we can drag the plate over

and as you see

hero is cashing pretty fast

I must say pretty fast for the size of frame

the problem is that when you bring in more

versions and you want to quickly

jump between one version to the other

this caching speed might not be enough

and you'll have

you know it will stutter or stop

so you have the option of localization

so if you look um

in your preferences

on the first tab

um you can set a path for a localized folder

so if like me

you have a solid state drive

but it's really small one

and you have your um

probably your system and your software installed on it

um and but you

you can't put all your work stuff in there

it's just too big

you put it on your regular drive

uh you can use the localized feature

which is similar to nukes by the way

to temporarily um

localize files over there

and they will be read much faster

and then you can just clear it

when you're done with it

so you set the path

and you set the amount of space

you want to allocate for the localized folder

and now let me

turn down the cash again

and clear the cash

now we can select

this clip and

right click on it

and go to localization policy

and change it to always

and you see the

The Orange Bard that just went there

that means it was localized to the

faster drive

and now if I play it again

you can see that the

caching is almost real time

almost 24 frames per second

and once you do that

it keeps there in the localized folder

until you tell it to

to clear the folder

so now let's bring in

the render we did

and we can localize it too

that will just make things faster so let's do that

and now that it's localized too

we can just bring it and put it

on top of our plate

now uh hero is asking us about the frame cone

because actually the plates

were probably rendered straight from

either from hero or from the editing suit

so they are actually 23.98 and we're rendering it 24

um that's really not a big deal

so we can just say yes okay

um we probably also want to view instead of time code

just uh the frame

so if we take notes about things to do

we can always write down uh

the frame number

and as you see everything runs very smoothly now

then it's that it's localized to the Sol

it's a drive

and what you can do is select your top one

the um the render

and if you hit d

just like in nuke

it will disable it or hide it

so you can quickly toggle between the two

that's just one way of doing things

and you see that as you do that

um a hero is cashing

but because they're on the solely say drive

it's almost real time

and eventually both will be cashed and that's it

so localisation is a good idea

or when you wanna speed up things

and it's even a better idea

if you're actually working on a network

say you're working in a studio

because that's even slower

so that will allow you to temporarily localize

all those files to your own computer

and to your faster drive

so hero uh just like nuke

lets you adjust your interface

and save different layouts

and that's a good idea to do it right now because

we have a lots of

windows and stuff here

and but we really we wanna see the

our main view

as large as possible

so one thing you can do is float a panel

let's float our whole timeline here

and we can scale it down and put it back say here

now we can lower this all the way down

we don't need these

and then we can bring these bars

so really we have a tiny little

timeline here to work with

but we don't need to do much here

we're not editing

we're just reviewing

and the most things we need to do is like disable

one layer and so forth

so now you can go into um window

and workspace

and you can save your workspace

give it a name

for example

I have my own workspace here

called my review

so that's a little bit like

nuke alright

so let's now look at

uh the render

and kind of identify problems

so one thing I'm

I'm seeing and it becomes clear when I um

jump back and forth with the plate is

the hair on this girl

and we might wanna zoom in

and you see this dark band here

that shouldn't be

so I think this is because the IBK here is a bit

uh is not dense enough and um

our format is just not reaching all the way to there

so we push the format pretty

hard inside so that it doesn't touch

any of the hair and stuff

but in this specific area

we might wanna push it back to cover um

this black hole in here uh so um

it's a good idea at this stage to note things down and

uh give yourself

some frame ranges if it happens on specific frames

uh there is some stuff going on here

you can see um

and then if I zoom in closer

I mean it's not looking bad

but there are few things

it feels a little too noisy

I also think that the grain

on the background is too harsh

there is too much

I need to reduce that um

the area here feels too noisy

and the other thing is that

you know if you look at it

it almost feels like we're missing some hair stuff

and this is probably

we're not gonna get it from either the IBK or any other

green screen extractor

so we might wanna augment this one where another

just feels like we're missing a lot of detail in there

what else uh

when she's out of focus

I really don't like the very bright edge on her hair

especially this side

but also here

if you look at the plate

it doesn't exist um

this girl looks really good in focus

the hair detailing

all that so it's mainly fixing this

so it's this

the grain um

the bright edges on the hair when she's out of focus

the noisiness

um adding some detail here

so let's go back to nuke

so here is a new version

in New Core

I kind of try to uh

address all these issues

so first of all

um the hair

on this girl

and it's always a good idea when you work on a

new version to bring in the previous version so you can

ABN compare

so here is the version we looked at

we thought dark

um band here

and here's the new version

which looks better

you see other things happening too

I'll show you them in a moment

so basically

this is our prime at

and this is the original road that we had um

but that that

that defines where we just

use the plate and not the IBK

so I used another key mix here

with a different road

that's a bit more open

for the girl

uh here is a roto

uh that goes just around her head

these areas that we wanna address

and also uh

on the shirt of the other girl

because that had the similar problem

and it's tracked

and it's um

blurred a little bit

and then basically

we have two different

and maybe we need to

make the blur a bit more

you can see the edge there

um so now we have two different versions of erosions

this one I also animated

depending on the frame

um just to um

make it match better

um depending on the movement she does with her head

so that's without the key mix

we're back to this area

you know black hole area

where the format doesn't reach all the way to the end

and that's uh

with adding a second road

key mixed using this

um this roto

so this is for this

another change is

the area

over here so this is our previous version

I mean let's actually go to see when she's in focus

this is our previous version and this is our new

and you can see that I added

quite a lot more detail in here

feels more natural

and again this is basically a cheat or trick

to get a little bit of hair

so let's quickly go over it

I'm going back to the plate

you identify

the channel that has the most contrast around the here

and that would obviously be the green

it's usually the green channel on the green screen

um so then you wanna shuffle

and just get that green channel

so now we have a black and white image

that represents only the green channel

uh now we want of course

the hair to be bright and the background to be dark

so you invert everything

the difference between dark and white is not enough

so you wanna grade it

now one thing you wanna uh

make sure you do

is that you clamp both the blacks and the whites um

and you know what

for this purpose

since we're over

we're adding it

we actually don't need to clamp the whites

it actually doesn't make a big difference

if you were multiplying

it would definitely want the whites to be clamped

and I'll go over one anyway

you can also see that I uh

graded the original um

let's copy this here

for example

just to show you

and I'll reset this back to normal

so what we get is

basically black and white

and I'll connect to these just to show you

so here's my background

and now I am

actually placing or adding that hair

and as you can see

uh I'm only using a smaller mix range

I'm not really putting in all the way to one

and it's also animated

it's animated because once she's uh

the beginning

she's out of focus

this thing is not gonna help us anymore

just gonna make it look worse

so I animated it to appear during the rock focus

but the problem with this is if we look at the

at the whole thing

is that the color feels off

because really we're using a black and white

you know color or no color

so that's why in this grade I kept the same

push and pull on the black point

and white point to get the contrast that you want

you want the background to be totally black

so you don't wanna get any noise in there

and you want everything

all the hair detail to be as bright as you can

um but in addition to that

I also colored it using just the gain to be much warmer

much redder

and let's reconnect this one

and now it feels more like an extension to her hair

and that gives

us back some of the detail

even though it's not as

sharp and clear as on the green screen is gonna

be really hard to get

especially with the the grain

but it definitely helps us

so that's without

it feels almost like something weird is going on

and that's with

and of course

you want to constrain it

only to this area

you definitely don't wanna have this effect going on

for example

on this girl

now we get it sort of a Halo

so again you

you use a tracked photo to

define and always blur those photos

just this area

so here's another improvement on the

um the other take

I also went and change the grain

as you can see

the grain is heavier in the previous take

less heavy on this one

I think it works um better

and the last thing um

I wanted to address this

what we saw when we reviewed

that take was the kind of bright

kind of greenish

edge around her when she's out of focus

if we look back at the older take

yeah that feels a bit off

so one way to to do that is to copy your IBK gizmo

and put another one that's exactly the same

copy and connect it to the color and to the plate

and to the background the same way

add a Chemix here

isolate just the area that you wanna tweak

and in this eye because you see here the red and um

red and blue weights are

exactly point five

if you tweak those

you're gonna change

the color of the extraction and especially the edges

so if you look at this IBK

you see the difference in color so

let's go back here

so this ibk

uh I tweaked the red weight

took it down a lot more

and that basically controls the color of the edges

so even without using an edge blur or

because we already have an edge blur there

and we can't use another one

it's not gonna work

you can actually tweak it um

so that's another thing you end up doing

sometimes you just copy your IBK

create another one um

constrain to a certain area

when you want to have different settings

now the Kimix is animated because once she is in focus

we really don't need that other IBK

because everything looks good on that edge okay

so we're back in hero uh

I ran a new render with the changes

so we have a new version

and here's a nice little thing in uh in hero

uh if you right click on the version we have

which is version 4

um and you look for um

scan for versions

it's actually gonna go through the folder

and here he tells you found two new versions

because he also found an earlier

version that we didn't even look at um

and now basically

if you have the selected and you hold Alt on Windows

and you use the up and down arrows

you're gonna be moving between the versions

and you can see the version number right here

I wish it would show it a little bit larger

I don't know how you can do that in hero

but it's still there

and you can immediately see um

the differences

and as you play

you can toggle between the two versions

and see what has been done

and that's great

and if you still want to toggle to the plate

you just use the d

to go back to the plate

so that gives you an option

the way I set it up

to toggle between different versions

and see the differences

and also toggle between all the versions and the plate

so you have always the reference there

so that's um

some of the reasons why I really like using hero

and Hero Player

as a review tool so

um this is it

the shot is not completely done um

there are other little things to tweak

especially the area over here and again

it has to do with the format

um but you're getting the idea

you do the rough brushes

so to say the big

brush strokes

at the beginning

you create an extraction that works for you a format

set it all up

and then you render out

you identify the small problems and um

you fix them by isolating certain areas and

treating them

so this is it

this was our warm up shot

and next week

we're going to start with a big balcony shot

which is not gonna be easy

not that this one was very easy

but it's gonna be much harder and much more interesting

because we actually go and do a lot of things in 3D

and use my Iron Arnold

so I'll see you all

uh next week bye bye