All language subtitles for nuk309-class05

hi everyone

welcome to class No. 5 of Nuke 3:09

and today we have uh

the difficult task

of getting rid of everything in the shot

basically except her

so painting out markers

painting out the rigs

um removing the whole floor

extracting and of course

this is not easy as we said before

so we'll devote this class

to different techniques of doing so from king roto

painting to huking

um but before we do that

I just wanna pick up from where we left

um last week

and we were talking about precomping or rendering out

our background to speed up our work

and for that of course

we want to turn off the temperature

we don't want that baked in there

it's also a good idea to turn off

the grade node so we can

we can apply it later

we don't bake it into the precomp

and we want to render any XR with two channels

the RGBA or the RGB

because we don't really need an alpha here

and of course

the Motion Victor so that we can apply

a Victor Blur later on

so we don't wanna ride all the channels into the XR

we just wanna ride these two

so for that

we can use the channel node uh remove

and attach it right here to our

scanline render

and let's uh

you see that

now I'm not getting anything because basically removed

all the channels that are available

but instead of Operation Remove

we can change the operation to keep

and now we can say that we wanna keep the

RGBA of course

and in addition

we wanna keep

um the motion

and we should have these two channels

and we can check that we have the motion right here

and now at the right node

and we're writing it as the XR

and the only thing we need to do in the right node

um is to change channels from RGB to O

so now it's said to receive all channels

and this is um

used as our channel filter

to filter through only these 2 channels

now another thing you wanna

look at before you render your background

is exactly how many frames you don't wanna

uh render out useless frames that you don't need

just will take more time

so the best way to do is look at our

little rough comp here

and look for the first frame where we actually

see the background coming in

and we're starting to see stuff around here

let's exactly find the right frame

yeah I think that it

frame 99 would be a good frame to start on

we still don't see any of our BG

so you can set that as your render

and render out

your BG okay

so now I brought in the plate

uh all clean and fresh

so that we can do the paint work

and let's start with the tracking markers

because relatively they're the

easiest ones to take away

even though they're not that easy here

and a word about

the color of markers on green screen

when I go on set

I usually advise to use

green tracking markers on the green screen

as long as they're slightly in a different hue

or shade of green

uh every tracker will pick them up very easily

but on the other hand

they will be so much easier to key

so there really isn't any need to uh make uh

your tracking markers yellow or pink

or red on a green screen

unless the light is very

very low but it

if the light is very very low

you probably won't be able to use

the green screen anyway because

green screens don't work very well when the

they're not properly lit

um but um as you can see here

we always get

shots that have tracking markers at a different color

and I always try to see if before I start um

going and doing tedious paint work

if there is any way I can isolate those

markers with a kind of a key

and paint them green

sometimes it work

in this case it won't

and I can show you why

so you might wanna look at a

Luma key for example

so if I look at the different channels

I mean obviously

there's no problem just painting out

the markers when they're just

they're free

the problem is when they intersect with her

and especially her hair

as you can see right here

if I'm looking at the different channels

it becomes very clear that I can't just isolate

those markers

without hitting

her actual hair

in which case

we didn't gain anything

because we'll have to paint back her hair

uh we can also try

sometimes it work

uh you can try a hukir

in this case again

because they are yellow

they're close

enough to some shades on her hair

especially the wispy stuff

that when we

key them and make them green

we're also going to make some of

her hair green

so unfortunately

there is no um

a smart way to just

isolate the markers

and make them green

we really have to paint them

so let's add a paint note

and let's find a frame where a marker

intersects her hair

um let's say here

here's a good one

and we wanna use the clone tool

but of course

we don't wanna clone from a different area

we wanna clone from a different time

um so let's change our input from FG to BG

so we're going to take from the same plate

where we're connected through the BG

and let's set

the time to one frame

so we're using a

one frame offset

and now as we turn on onion

we can see the two frames

and of course

they're not aligned because she's moving

um so we have this um

handy manipulator here

just like the transform tool

you can hold control

to bring it closer to the area

that you wanna match

and now you can

um move the other frame around

and you wanna get

as close as possible to

having them

aligned and you can

see when they

get aligned

when the features become sharp

when they are blurry

uh we can tell that

you're not exactly aligned

so that's kind of it

of course they're

not gonna match

perfectly because

things change around as she moves

in her hair

but let's say this is pretty close

now I usually like to uh

turn off the

onion feature to

see just the

frame I'm painting

and then carefully

just paint in

the area where

the marker is

you don't wanna

affect too many areas

you just wanna clear that

and

that is looking pretty good

and you can see the before and after

um let's find another frame

to try and do the same let's say

okay this frame where we have some of

the marker over her hair

so again the same procedure

we turn on the onion

and we look for the manipulator bring it closer

now we try and match as good as possible

something like this

then turn off the onion

and

let's see

this one is not perfect but

it's not bad at all

alright so then you go on and you find

all those frames where those markers intersect her

and you paint them out and once you do that

you just need to remove what's remaining

and we have to take into consideration

the fact that later on

we'll do a sort of a garbage mask

a loose garbage mask around her

so we might not even need to uh

paint out every tracking markers

wherever it is

just the ones that are closer to her

and once you do the ones that intersect

you can just use uh

and I like using separate paint notes for

different tasks

use a simple clone tool you know

not a time clone

just an area clone and just paint them out and

I like doing this because

I don't know

I feel like it's a relaxing pastime and again

you really wanna paint just

the ones that are closer to her

leave the ones that are far away from her intact

they're gonna be taken out by the garbage masks

so once you do all that

you wanna go into

the harder task of painting out the rigs

and you wanna use exactly the same procedure

you wanna find those frames where they intersect with

her hair and use the uh

time clone to get rid of them

and it's not different than what we did with a marker

it's just a little bit harder because you have

a much larger area

to paint out

but it works and again

once you do that

you just wanna clear them when they get closer to her

obviously we're

talking about everything that happens inside

the green screen

everything below this area

at the bottom of the green screen

there is no point in painting out anything because

we still have the floor here

there is no green screen

what we'll need to do unfortunately

is do a combination of Frodo and some

hue extraction

to just get this part of her

and and get as much as hair as we can and we look at it

a little later um

but the good thing is that once

she passes this area of fast movement

she's all again against the green screen so again

you wanna take out all those markers across her

no need to touch these because again

these will be outside

um the garbage mat

so here's my work after doing all the paint work

I basically have 3 paint nodes here

this one is just taking out all the

surrounding tracking markers

and I actually did

I overworked and just removed each and every one

everywhere on the green screen

this one is the one where I removed

just like we did the ones that intersect

as you can see

so let's turn these two on

and the last one of course is the one for the rigs

so as you can see on frames where they

get really close to her or intersect

I painted them out

I left everything on the floor the same

here's another one

so you wanna get all these done

and once you do that

and it will take a bit of time and patience

um you probably want to pre render this or precomp this

uh because paint nodes

are notoriously slow

and will slow down your script a lot

and you don't wanna deal with them

um you can always go back to the script and

change something and re render

so I'm just writing it out as a precomp

so now that we've got the background pre rendered

and we've got the cleaned up late pre rendered

um I wanna show you how I set up the script

and of course

we want delve too much on stuff that we already covered

like the IBK and prime and extraction

but the other stuff that's more important

so first of all

here is our pre rendered BG

and we want to apply back

the color that we set up in the previous class

and also enable motion blur

the vector blur

and it's currently set 2.5

we can change that

and finally set the distortion

and this is ready to serve as our background

now here is our

cleaned up late

the one where I did all the paint work

and in order to get these to work

you need a few rotos

and let me show you what you want

the first one

will be a sort of a garbage mat

you just wanna go around her softly

um not cut off any hair or any stuff

but you wanna basically mask out as much as you

can from the outside

so you wanna do a garbage mat and follow her through

and here you really only care about

keeping her

out of all the stuff that's around her

um here you need to be a bit tighter

because you wanna get as much as you can

of this stuff out

so this is the garbage mat

the second one would be a mat that defines

where we switch from green screen extraction to roto

and that's where we want to remove the ground

now don't take the very bottom line of the green screen

because that area of the green screen is gonna be

pretty hard to key and pretty useless for us

it's so shadowy and that dark line

will pop up and will not keep

so we might as well just

extend our road a little further up on her

and just use

you know our bounding area

a bit higher above this fold

and once we get over here

of course you don't need that roto

that roto goes away

because from here on it's clean green screen

so this is the second roto that you want to create

and again that shouldn't take a long time you see

I don't have a key frame on every frame of course

let me just set this back to global

the next one is a roto that we already did in

the previous class

and that's the one that defines

where we stop having a green screen

and we're not extracting or cutting out anything

and we're using that side of the wall is that were roto

so that one you should already have

and then the last one would actually be rotoing her

and that should be

a pretty accurate

if not very accurate photo

now here is the dilemma of course

is how much of the hair you want to to get

and of course

you can't roto out strands of hair

because you'll get the

you'll get the

the ground or the surface behind it

and it's very bright

and it's got all these things going through it

so you know

you have to um

find a separate way to kind of get at least

some of these strands of hair back

but in terms of Frodo

you basically wanna roto

the last solid pixel

so as you look close up

you wanna keep your roto around

the solid areas

and here of course

it doesn't matter already because we're

going into the green screen

so I admit my rotto here is a bit fast

and not as accurate

I'm sure you guys can do a better job

and it's good to do

probably try and give it a bit more work on there

and then we'll look later on on how to uh

to get a bit more of the hair

even though this is gonna be hard because this

is not a green screen

alright so once you get all these 4 odos

you can start

doing the work

so first we have our primat

the coremat

and again just like we did before

you wanna get a very hard and very clean mat

you wanna make sure that there's nothing

no noise on the background

and that your foreground is completely opaque

and this is hard

especially in areas like here around 1:40

where there is a sort of a lens flare or flaring over

the green screen gets very

very bright and lifted

so you basically have to go with your primer

all along and make sure that everything is clean

and again this is a very hard mat

you don't care about here

and here is our IBK color let me um

put this back to zero

so again you wanna make sure that everything is green

except for her

that she's all black

of course you'll get these

um that's natural

and again the hardest area

to tweak the IBK color is right around here

and you can copy my settings or

try to make it even better

and now we have the eyeball

let me just put this back color

patch it back

and here's the IBK gizmo

and you already can see the luminance of the background

because I have um

use background luminance and use background chroma

I don't know why I have luminance match here let's see

and of course I'm connecting the background to it

so that goes

over the background

but I'm also using my garbage

mat to mask out anything outside so that cleans up all

at least the stuff that's around her

so this is over the background

and without the mask we see all the stuff here

using our garbage mat we clean up some of this

so we still have some of the floor around her

whatever is inside the mask okay

and of course you can see that since this is an IBK

this have transparent here and we need the same format

to filling that area

and this is what we're doing here

so we're taking the prime at dilating it and blurring

and putting that into the same garbage mat as well

so this is used to just clean up everything

and now we have our plate

but going through a kill spiel

and you can see here that I

felt like I need to pull down the greens

a little bit more

there is a lot of spill on this shot

so without pulling the green

there's still some green on her face

so I pulled a bit more in there

and right now it's also heating this area equally

but we'll take care of it later

so we take our plate dispeeled

and here we use a K mix and we use our dilate eroded um

format to key mix between

the IBK over the background around on the edges

and the actual plate

so now with the key mix in

we fill in and this is exactly the same procedure

we did on the previous shot

okay so now again

we take our kill spilled plate

and we take the roto that we did for the bottom

part of her body right here

we blur it slightly

let me turn this off for now

and we copy the alpha into the plate

and now we have this bottom part um

roto doubt again

I'm using the same garbage mat to just put it inside

just in case to clean up

and this I'm putting over the background again

and you know what

I can already see that a little bit of edge blur

won't hurt here

so let's do that um

just something like three okay

so now we have that part of the background

then we take the roto that we did

to define where we wanna use the green screen and when

where we wanna use the uh

what we did here the Roto

we blur it a little bit

and we use it as a mask for the Chemix

so basically everything above

this Roto will be the green screen extraction

everything below this Roto is gonna be our

precise mat here

now if we look here

things start to look nice and clean

and we have just her

but as we go to this area

everything falls apart

and that's because we're still missing that

definition of where we end up with all the extractions

we need that roto basically

uh that we did before

and now we can do a last key mix

where this is used as a mask

and basically

everything in that roto will just be totally opaque

and not extracted

so now we're pretty much

set up and we can look

at different frames

let's just turn off the

vector blur

that will make things

a bit faster not a lot

and you can see that all this area is pretty clean

and we're starting to get a nice

clean extraction

and actually the

IBK is already doing a pretty good job on her hair

we get quite a lot of detail in there and

it's working pretty nicely

the one area were it's still looking kind of harsh

and blocky is of course

the area where we're actually using a roto

and it's there that we miss all the subtle detail

of the hair

so now we should again

as usual it's always here

um go and see if we can do something

to get some of the hair

but unfortunately

it's not gonna be like the previous shot we did

because this is not over a green screen

um so let's take a look at the yukir

now the yukir is a sort of a last resort thing is

it's not um

a very precise tool

um you can't get

um very nice extractions out of it

but you can try and get something

since we have

we can't use a Luma key here

we have those things going on through

we wanna try and get the U of her hair

which is different than those rigs

the gray metal

or the floor

to at least get some of the hair back or some

some edge that feels a

bit more natural than what we have right now

with the roto

because obviously you can't roto out here

um here's our you here

and what we wanna do

it's connected

um we wanna kind of

scrub and pick up the color

for hair and see

with the yellow bar

where it falls

kind of kind of like the hue correct

and it's kind of like in the orange yellow area

so let's grab only the amount

uh graph and we basically wanna grab all the points

and just move the whole thing

to be kind of centered around this area

and we can look at the alpha

and right now

of course we're not

seeing much

this is what we're seeing so let's

start narrowing down this area a bit more

and we wanna be go pretty harshly with that

but what you can see is that

the background is becoming white

and our hair is actually black and that's because

for some reason to hear correct by default is inverted

so if we turn this off

we get what we want

so this is already

looking a little promising

um what we wanna do is try and keep as many

strands of hair as we can in the white

without having too much noise in the background

this is not easy of course

but what we can do

instead of just punching this too much

if we get something that we think we like

and there's some detail in here

and we still have noise around

we can just add another great note

set it to alpha of course

clamp the whites because it's just an alpha

we don't want to go over one

and now we can use the black

and white controls to kind of accentuate this even more

again it's fecal and tricky

and require some back and forth

um obviously you wanna blurry too at the end

because you're gonna get something that's very harsh

so all in all it's a matter of adding it to your mat

and kind of

sensing how it looks and this is what I did here

so here is another one I did before another you care

and I'm grading it down to get rid of most of the noise

using basically taking the blacks way down there

um let's clamp the whites and blurring it a little bit

and this is my roto

and I'm just adding this to my roto

and you can see that it's adding a little bit

so if we go let's say here and look at our final result

um

this is without the hue Kia added

to the Rotto

and this is with

and you can see that we're getting some extra detail

now it feels a little bright

because of course it's uh

the the stuff that's behind it is the floor

and it feels a bit too bright over this

specific background

but what we shouldn't forget is that

eventually when we create in 3D the balcony area

we would probably end up having a floor

right there that's going to replace

the original floor and it's going to be pretty bright

and the kind of same luminance

so maybe we shouldn't worry too much

about those bright edges that

that we're adding right now

and instead

instead be happy that at least we're adding

some kind of extra definition there

let's look for example about here

yeah you can see that our

um Kia our rough Hukir

is still managing to add a little bit of

life into those edges

let's look here

yeah and we shouldn't worry about the bright

edges because as as I always say it

it's going to be defined by what's behind her

and it's not gonna be those green trees right there

so um here we go

a little bit of extra detail to our roto

now one last thing that's in this script that I

haven't talked about yet is um

a controlling the spiel suppression because um

it looks like the kill spiel is helping us

very nicely throughout

the shout when she's all there alone

over the green screen

but when we look at the area where we see

the back room and back wall behind her

if you recall in the very first class

we were wondering if what we see here

is really all spiel or some of it is natural color

and we looked at photos

and we realize that these shades

are actually kind of greenish

and they might be throwing some green light over there

so when we apply our kill spiel

we're basically killing everything

making everything kind of bluish gray

and for this area alone

not the area of the green screen

we might wanna

kind of control the amount of spill

so that area basically goes into the last key

mix over here through this photo

so what we can do is um

the plate that goes in here

the easiest way

instead of taking the kill spill and changing it

the easiest way to do is kind of blend back

the original

non spilled plate in there

and I really like the blend node

uh the merge

blend note um

because it's normalized

so you can tweak um

the the ratio as much as you want

and it will never

you know break apart

fall apart or change the uh

luminance value

so right here

uh since we're plugging the the

the steel suppressed blade into one

we can basically control

how much of that we want back

and if we look at the whole shot

we don't wanna go overboard

but without our blend

this whole look kind of

greyish blue

with the blend

we are maintaining some of the green colour

in here and some of it here without

um having it

you know feeling too spilly

and hopefully as she passes by through the throttle

we're not gonna see a giant

change on her face as she goes into the

more heavily dispeeled

area so now

I'd like to kind of recapitulate everything we've done

because I know where I kind of crammed like

two days worth of work into a single class

so let's just take a look again at what we've done here

we've got the background precompt

and rendered um

we're using our color correct

we're adding the vector blur

and the distortion

uh we're taking the plate that

already has all the paintwork baked in

and we're creating

um let's go over here

an IBK extraction

and a primatic extraction

which is dilated and blurred

and a bit of edge blur on the IBK

and the IBK spoofed over the background

and masked by our garbage mat

the prime mat is also masked

by the garbage mat

and is used

for the ski mix

um to control what is IBK and what is

um just regular plate

through our kill spill

which is a bit heavier on the green for this shot

um then we take care of the bottom part

we have a roto that defines the area

where we're not using the green screen extraction

which is used in this key mix

and for that

we're taking ours

this field plate

creating a roto for her

adding some extra definition

using the yukir

creating a mat for that

again some edge blur

putting it inside our

garbage mat to clean up areas on the side

just like this

and all that goes over the background again

and key mixed using that roto that defines

the green screen and on green screen

and finally

to take care of um

the back wall and back room behind her

we use uh this mat

to define this area is totally opaque

and also for this area

we are changing the uh

the ratio of the um

spill suppression to get some uh green back

and this is it

we've got something that's clean enough

for now to go to 3D and start working on building our

um building our balcony

the railing

the floor texturing it

lighting it and then adding some nice detail in there

like plants and pots to make it feel more alive

so all this in the next few classes

and I hope to see you all there bye bye