All language subtitles for nuk214-class02

so always just keep you lean

for all you Latin fans out there

welcome to the paint and roto section of this class

I understand you guys went through some good

rotoing tutorials with Jeremy

that's good

because we'll be using some of those techniques

in today's class um

we're gonna be working on a cool shot here

and the reason I like it so much is

because it's got an explosion

and I'm sorry

I'm just gonna set up a property spin in here

so go full screen on this guy

oh yeah look at that all right

nothing quite like a good explosion

so we're gonna paint these wires out there

fortunately behind the explosion

which makes our job a little bit easier

and I will put the helicopter back on top

and there'll be no more wires

speed this guy up and make it look really awesome

so look at the shot and kind of analyze it go through

what we think we're gonna need to do and not do

so the we got about one

two three wires

in the front and

three in the back or something

so we're gonna go through

and figure out what the best way

to do this is

the wires are

pretty still here

so I think I'm gonna use

the method of going to a degrained steel frame

which I find works the majority of the time

or I end up resorting to that one if I can't maintain

the grain by just using transforms and things

so I'm gonna show you that method today and

perhaps we'll go back

and address some other ways afterwards

now today I'd like to also point out how to use

a feature of nuke called the Precomp node

so we're gonna start out by making a clean frame

uh in one script

and then we'll use it in another script

via a precomp node so that you can

see how you can work in parallel

and have one person working on

the clean plate while the other guys maybe doing

uh roto or or some uh

precomp work to to bring this helicopter back

into the plate without the wires

okay so now that we've picked a method we're gonna go

with it and try it and see how it works

if it doesn't work

we'll we'll change it and figure something else out I'm

sure it'll end up being a combination of methods here

as it generally works out

we're gonna degrade this plate

cause we got some noise in the red channel

the green channel

and the blue channel

so if we don't degrade it that will be very obvious

when you're watching it in playback

so a tip for degrading a plate

what I like to do is I'll bring in a tracker here

I don't have my menu up with

with the scroll downs because I find it more

efficient to use the tab key to bring up this window

uh type a few letters of what I'm looking for

and then pick the wrong one out of the

out of the graph um

and and use it that way

so that's the way I personally like to work

if you guys would prefer that I do it through menus

please let me know

and I will change my methods for you

and since I know you're familiar with

tracking from Jeremy

I'll do that quickly

okay so now that we've got a successful track

for our plate

it's time to get rid of some of this grain

and see what detail we can keep in the clouds

and in the rock face

it's really important to degrain plates when you're

painting because if you don't

some of that static grain will show up

when you have other moving grain around it

it's not until you see that

that you realize that the grain really needs to

really needs to go

and it's difficult to do

without losing too much detail in the plate

there are some

built in tools

for nuke such as d Grain Blue and d Grain Simple

that work pretty well

but my favorite way that I've had the most successful

the most success with

is using a frame blend method

so we use the frame blend node

and it averages the frames together and

helps get rid of some of this noise just as grain

since we stabilize the plate already

so we take a look through there

and then back at the plate

you can really see

that the details maintained and

and the grain just pretty much disappears

we can take a look at the

red channel

and you can see it really well in there

so the way that this node works

put some color back in there for you

as we've got

a channel section

so you can choose which channels you want to

blend together to remove noise in case

there's something that you don't

maybe just you want to do

the blue or just the red or something like that

will use RGB for this one

number of frames will increase to 10

because we want a 10 frame sample

and that'll be from 10 frames behind your

cursor point here

so you can see the helicopter move closer

which is pretty neat um

you can also input a custom

custom frame range if you need to

if you just wanna do say maybe frames of 30 to 40

uh we don't want to do that but you can input

a custom frame range or if you click input range

you will get whatever ranges

on your readnote or what's piping into the frame blend

so we're gonna go back here set this back to 10

and carry on um

and that gives us a pretty good distance we got

a lot of information in there

so we got rid of most of that grain

and we're gonna throw a framehold underneath that

to pick a frame that we like

the one that we were on is most pretty good

while it was degrain

so we'll use frame 18 say

so

you'll notice when we added that this frame hold node

when we add that it frame hold node

it set default to 0 0

so it's holding on frame 0

with an increment of 0

so it would stay that way the whole way

so whatever you want your first frame to be

uh you type in the frame

uh first frame box

and if you want an increment of 1 frame

it would just play every frame uh

2 frames whatever play every 2 frames etc etc

so now we got our our

frame nicely degrained

we've got all our information in there that we want

we it's time to start painting out the wires and

and the helicopter and then this frame down here

and then we'll get back to comping it all in

before I start painting I like to compare

where my degrain plate was with my original

and check um I'm sorry

my d grain with my original

and check all the channels

and you can see when you do that the tracker we added

brought in a completely white alpha channel

so rather than

keep that white alpha channel in there

for the time being

I like to throw in a placeholder shuffle node

uh just to to keep everything consistent

and since a JPEG doesn't carry an alpha

uh there wasn't one in the read node

so I'd like to go to

back to black for now uh

before I start my paint work in case I wanna do some

work with my alphas and things like that

so the shuffle node looks a little

bit confusing at first

but when you get into it it's really pretty useful

I'll go over it quickly now

Jeremy will go over this node

in detail during the multipass class

but for these purposes we have a red input

a green input a blue input and an alpha input

and then over here we have a red output

a green output a blue output and alpha output

I want to take my alpha input

which is currently

whatever is piping into the shuffle node

and I want to change it to black

so when I do that if we look at my No. 2

you'll see it changes the

from black to white and

then between my read

and my shuffle we're back to square one

we can carry on with the paint from there

so now we have our plate how we want

it's time to start painting these wires out

a good it's a still frame so you could

use a just a paintbrush

but I want to show you some other techniques that are

that come in very handy for

motion shots and and things that maybe don't get

too close to the subject that can

can be a little more garbage mask esque

so we're gonna use the Transform Mask Node

and this is just a transform node

with a mask input here

and we'll attach an alpha channel

to the input

and then we can transform this image behind

our top plate

let me show you how that works

so draw a roto node

attach that to there

grab our handy shape which I'm sure you guys are

very familiar with after Jeremy's lecture

thank you Jeremy

grab these guys and these guys shift z

give us a nice little rectangle there

and we'll just sort of spend a little bit of time

moving these into place

so that we don't have to transform too much but

we can also get enough out of there to

make it look nice

the o key hides your overlay to make sure

you've got everything in there

and you're not missing it so

nice these guys up

and close tighten these guys over here

sorry about some of my zooming

I'm getting used to

using the Mac instead of the windows uh keys

okay so now we've got that

we can take a look at our transform masks

if you grab this with

control and then move it up here you can

put it right on top of what you want to transform

so that you can just look at that area

and you'll see as we sneak down here

the rotor shape does move

but behind there

you can see that it is just inching out of view

and that's exactly what we want

I would keep going down a little bit

probably don't need to translate it too much

to the left of the right

so go down here

26 all right

so that's our first one

go into the roto note

and perhaps feather it out a little bit

see what we can get out of there

take a look at that and

not so bad for a starting point

so we'll keep that

and then we'll go

I've got another one here for you to

save you a little bit of time and not have to

oops

now have to watch me draw so many roto shapes

so we'll put those guys in there

got a second roto node

we got our second wire down here

put our overlay back on

so you can see that we just transformed it down

the same way did the other one

put a nice little feather of 6 on there

and you can see we've got some

big chunks taken care of right here

and we'll just go through here

and I'll show you

a different technique to paint these guys out

and we'll also use

the Roto paint node to smooth out some of these clouds

and get on with the clean plate

and onto the headliner of this particular course

the Roto Paint Node

the Roto Paint nodes come a long way since Nuke 5

and I'm very happy to say that it is gotten

extremely useful

it now has a recursive clone feature

which I am very thrilled about

also has a built in reveal tool

as well as something like a blur

which always comes in handy when

you're in a tricky spot in a composite

dodge and burn etc

and you can find these

menus by clicking and holding these brushes

and scrolling up and down in the menu or using that

hot key there to toggle between them

so this one's n

pressing the n

key will give you the paintbrush or the eraser

the first half of the Roto Paint node

the Roto part is

the same as the Roto node

so I won't cover that

since Jeremy just gave you an in depth

lecture on the Roto node

I will point out that if you're using roto shapes here

and you're looking for a feather

it's located under the shape tab down here

as opposed to under that first

section that you would be used to with the roto node

anyway onto some of my favorite parts

about the Roto Paint node

the clone tool

will be using the clone tool a little bit today to

get rid of some of this

messiness in the sky here

and as well as some of this stuff in the rocks

it's gonna be a little bit more tricky than just

just throwing a bezier over

so we'll start by getting acquainted with

the viewer section of the Roto Paint Node

the founder has been kind to put in all these

head up display type things here around

the viewer so that you can have quick access

to the paint tool

and still work full screen

um and I'll highlight some of them for you now

some quick shortcuts that you'll find very useful

one is hold down the shift key

move the cursor left and right and you'll find

that the brush gets bigger or smaller

and you can see that displayed here in the size

so you can do it by

uh by number

if you would like to

uh to place your clone source

with the clone brush

you hold down the option key

on a Mac or the controlled key with Windows

uh I'm sorry

you hold down the command key on a Mac

control t key on Windows

drag your clone source and you'll notice that

the clone source always comes from the gray circle

not the white circle

so use those two keys a lot while painting

and your clone brush will look less cloney

um you can also adjust the hardness here and set it to

tablet sensitivity if you're using a tablet

um you can specify the frame range here

and the background input there

which will go over in a few minutes

we'll start by just doing

a quick little bit of paint work here

I like to try and keep my paint strokes consolidated

so that uh when I'm looking to see what section

they're affecting

I can I can look quickly

and so can someone else working with my script

so first thing I'm gonna go into this

node tab of the Roto Paint node and call it

top wire so I know what I'm painting on

and then I'm gonna come down here

and I'm gonna set up an alternate background

so I'm gonna use one of Jeremy's famous elbows

which he likes a lot

and I am going to

attach another background input up here

and I will show you why in a minute

that's what we'll use this drop down menu for um

if I want to use the reveal tool

for example

I'll tell you about it now

similar hot keys in here with the size hardness etc

I want to be pulling in from background one which I am

and then I can use the reveal tool there

and that'll help me maybe out of some some tough spots

to blend some of my clones together and

things like that

so I'll typically set up

a paint node with

an arrow to whatever work I was doing beforehand

in case I need to reveal something and

something is different about

the reveal node that wasn't in the clone brushes

you have a delta t here which is time

so if I put in minus 1 or something here

it would be cloning from the previous

frame or the frame after

so that's something that's handy to use

so we'll delete these two guys here

so if you wanna delete a paint stroke uh

make a paint stroke

right click

find delete um

and you can keep them organized that way

typically I don't name paint strokes

just because you'll see how quickly they build uh

but if you have the time

and there's some important sections

it's not a bad idea to throw them into a folder

and name them as well

okay so we're gonna get back over the clone tool

which is see

another good hot key to switch back and forth between

and we'll just start painting away up here and

it's not a bad idea to

use that reveal tool to quickly paint in

some of those areas

get rid of any sort of stepiness around there

make it nice and big and

see what you can get away with

hope that's a little too far

we got a little bit of a dark line there so

you can bring out your eraser tool

uh I'll tell you why I didn't do that just there

uh because if you erase

I will do it so you can see

you actually make an erase line

and so now that is a new stroke that the paint

note has to keep track of

and if you're to open this up in a text editor

you'll see um

all the points that you've been making

and just piling pain stroke upon pain stroke can

slow down this node a little bit

and also your script too

so it's a good idea to

be conservative with your

your pain strokes when you can be

and use things like the eraser sparingly

as well as plan your pain strokes a little bit

so I won't make you watch me paint this whole wire out

but I will talk a little

bit about some techniques that I use

to help me get through paint work

one of them is when I get to tricky areas

that didn't really work in my transform

don't be afraid to reveal

the original part of the frame back

and then just repainted out with

with the clone brush

that sometimes a little bit more efficient

and I try to just

even though I work pretty close

where it about

3 times zoom here and

I work pretty close

but you got to remember to keep the big picture in mind

and sort of go between the two

and just make it look as cloud like as possible

without too many repetitive patterns

you wanna be careful of areas like this

that's what really stands out to the eye

and the art director looks for

and this is kind of uncomfortable to look at when

you're far away

so while you're in there

don't forget to keep zooming in and out and and really

really take a look at the big picture there

so while you're doing paint

you really wanna work quickly and efficiently so uh

try not to spend too much time in one place so that uh

people have something to work with

that you're working with

and keep the plate in mind and just uh

make sure nothing's gonna be too obtrusive when

you're revealing the plate through

uh while the helicopter goes past

so just remember to keep moving

your clone sources around uh

change the size of your brushes a lot

bigger brushes will help for certain areas and um

carry on painting this wire out um

the clouds are a pretty fun section

so you don't have to be too precise or anything

you just have to make it look nice

so carry on with that

and I'll talk a little bit about the

some more precise paint work over here on

the rock side okay

so as we get over here

we're gonna keep doing

similar techniques as we were in the crowd

so we just have to pay a little bit more

attention to them

just because we'll have

these lines there that we don't wanna

don't wanna screw up too much

uh the edge of the shadows there and things like that

um and also one thing I wanna point out is

when you get to the end of a paint stroke here

it's it's not a bad idea to uh

clone some other rocks

just on the edge there

so you get something that

gives it a nice rounded out edge and doesn't

doesn't look too much like a brushstroke

so that's really the important things you wanna

avoid anything looking like a brushstroke and

anything that looks like it doesn't belong

and have fun with it you know

the rocks are

a good place to sort of test

test your skills and things

and carry on painting out

painting out this wire

I'll do the same

and we'll meet on the other side

one thing that I wanna point out just before I carry on

is that if I change frames

all sudden my paint works gone

now the reason for that is down here in the paint node

you can see there's a life column

and what that is

is the frame that the paint strokes alive for

so since this is a steel frame

we're gonna wanna go into the lifetime tab

scroll down to the bottom of our grass

all the way to the top

and then we'll change

a lifetime type from single frame to all frames

so that way our paint strokes will stay

the whole way through as opposed to

just on that single frame

and it should update here in just a second

there we are

and they'll stay the whole way through the shot now

instead of the frame that we just painted them on

and you can adjust it for

single frames

frame range

and things like that

but I would recommend that if you're changing

if you're using a paint stroke

for a certain frame range

add a new paint node and then

use the frame range strokes in that new paint node

rather than

compiling them in this list

because otherwise

if you're looking

if someone picks up your script

and they're going back to look through

let's just scroll through

all the paint strokes that you've made so far

and figure out which ones are which

and it's just a lot more compartmentalized if you

keep them in separate notes

so that's helpful and

people will appreciate it

okay so now I've painted out all the wires

and all we have left to finish

this clean frame is to remove this helicopter from

the top right area of the screen here

so in order to do that

rather than just paint around it and

clone areas

I'll find an area that has

clean sky up here from a different frame

and just paste it on top

so in order to do that

I'm gonna want to

1 look for a different frame

well well that has to be

it happens to be a pretty good 1:54 uh

I wanna take it from my frame blend so that I

don't have any grain in the sky

so look and see what's going on there

I wanna be careful of these guys

just during the frame blend uh

make sure they don't cause

any pollution in my area

um and also I'm going to need to move my shuffle node

from where I put it beforehand

because this still has a white alpha

and if I want to make a new alpha

it'll carry it through

so rather than add two shuffle nodes

I'm going to teach you a pretty cool hot key

which is command shift X

or control shift X on

Windows machine

and that'll pop your node right out of the

out of the graph just like that

and then you can

move it and replace it

and that'll take my alpha channel to black

and then I can add an additional frame hold

in order to pull a different still frame

and what did we say 54

we're gonna try so grab 54 right there

we'll look at that

make sure it's stopped the whole way through

okay now we're gonna wanna draw

a rotor shape for the area that we need

premult it and then we'll over it over our

original plate here

and we'll have a clean frame finished

then we'll just have to add grain

and I'll show you the precomp node

so with that we want to add a roto node

go over here and grab this ellipse tool

saves a lot of time when you can use those

pre made shapes and stuff

so we've got

circle here and white on the top

we're only gonna want to use the alpha

so I'm gonna

change my output down here into the alpha

so now if I look at that pipe

it should have my color in my alpha

and there is a pre multiply setting in here

where you can change it to Primo by rgbna

and that will give you

what you're looking for

I like to do it outside if I'm working in

collaboration with a bunch of other artists because

sometimes people might not know what's going on

and this makes it just a little bit more

graphical so that people can see

exactly what's happening

and then I'm just gonna wanna merge this area

over my other friend that we had painted earlier

and oh there we go

so I'll highlight this

then shift select this

and press the m key

that'll give me a merge with my a connected to my first

one of my B connected to my second one

and voila helicopter be gone

so the last thing that I'm gonna wanna do is

add a little bit of feather to that

so that the edge isn't so sharp

so we increase that feather

see what we can get away with

we negative feather maybe

maybe negative feather won't be a bad idea

just because of those rocks we had in there earlier

press the O key to get rid of our overlay there

and check out our

check out our clean frame

looks very clean

that was the most important part

okay and you can spend

a little bit more time in the clouds if you want to

um and on the rocks

but I think they'll look good for our purposes today

so now that our clean frames finished

the only thing we need to do is

add the grain that we removed

and mass move it back to

what we stabilized from

so in order to do that

we're gonna wanna add a grain node quickly

now if we take a quick look

uh there's just grain in this area

and the reason for that is because

at the bottom of this grain node here

there's an apply through alpha checkbox

you wanna make sure that that's

off unless you're only applying through the alpha

and if you're applying through the alpha uh

be careful of gradients

and things because your grade will also gradient out

so if you've got some

uh gradients in your beviays and

and you're just graining certain areas

sometimes it doesn't quite line up

so you need to

pay attention to that

uh but we don't

need an alpha in this one

uh so we're gonna grain

the entire plate

so we'll go put our

1 viewer on

the plate will put our 2 viewer

on the grain node

then we'll press the W

key in order to get up the wipe

and our overlay still off

so from when we

turn off that bezier

so we're gonna want to turn that back on

get rid of our bezier there

and there we go

clean versus non clean

not too shabby

um okay so now

to get our grain to where we want

we're gonna

zoom in here real close

so we're gonna wanna start with it

one channel at a time

we're gonna go into

whoops excuse me

we're gonna go into

the red channel uh

hover over the viewer and press

the R key otherwise

you get that read window like we just had up there

and we'll start messing around with the size and

and see what we can come up with uh

and just in case you're unfamiliar with

highlighting a number

and using the scroll wheel of the mouse I find uh

pretty helpful

so when I look for grain I just kind of

it's sort of more of a big picture thing

sometimes you can't really see it until you're looking

at it in motion

so I'll pick something that I think looks good and then

I'll go back to it in motion

and generally have to make a correction or two but

we could start with

a size that's

around there

just dial these guys in a little bit

bring our intensity way way down since it's not

that noticeable

and we can bring our irregularity up a little bit

just make it a little

much smooth okay

alright and then we'll go into the green channel

try something similar

oh that one's pretty different

and you just go through and sort of

make a rough estimation of of what you might think uh

would be a good match in value of the two

that's really intense so bring down our intensity

oops what negative on that one an accident

bring it down even more oops

then we'll do the same for the blue channel

bring down our intensity

okay and we won't spend too much time on this

one for now

but you can see

you get the idea by sort of moving those around

and you also

Wanna check your

your dark values uh

that's a hard area to match with grain um

or it's an area that certainly makes

your grain stand out when it's not matched up

so in order to do to mess around with that a little bit

you want to add

you can see what it really makes a big difference

just a small

addition into this black right here

so you want to be careful with it

but maybe add a few

few decimal places and just bump it up in the blacks

if you can notice it

in the blacks

I don't really see a whole lot

so perhaps we could leave it at point one

just to know that it's there

and whoops excuse me

if you ever end up typing in the box

a good way to get the number back is just press

the escape key

in case you forgot what number it was

and you spend a little while

getting there

and there we go

that grade will match us for now

so another thing that people will do

when you go back to the RGB channel

um sometimes you you can

see where areas uh

maybe maybe the grains a little

still a little bit too heavy

so one technique that some people will use will

be to use a dissolve node so

uh whoops sorry

damn dissolve

okay and then

they'll literally just mix back

the amount of grain that they have on the plate

so one would be the grain there

and uh yeah

zero would be no grain so

pick somewhere in the middle and

screen it back a little bit and there you go

so that's pretty much gonna wrap up

our clean frame there um

now what I wanna show you is how to incorporate this in

into a pipeline so that maybe one of 1

1 person could be working on this while someone

else is working

on the next section that I'm gonna teach you

and in order to separate these scripts

but still merge them without just copy and pasting

all the nodes

uh you can add an output

node at the bottom here

now before I move on and say this

I wanna add two more things

I wanna add a right note just before output

and I forgot to put in the tracker

in order to match

move our plate back

so we're gonna start with the tracker

and we're gonna make a copy of this

so let's command C

and command V that

and attach it to

before our grain

because we don't want to really translate our grain

if we don't have to

if we can just move and then put the grain over the top

that's better

otherwise you'll get some resampling and

and maybe soften the grain that you've

spent so many hours hunting down

and we're gonna wanna change this transform that we

just copied from a stabilized to a match move

so then everything should be

exactly the same as the plate on the way through

and it's almost as though we never even touched it

so after that

we'll come down here to the bottom of our dissolve

and we'll add a right node

and we'll specify just

a place where we would want to write this to

should we need to

um heli clean plate

I got a folder in there called heli clean plate already

so we'll make it heli clean plate p 0 1 dot

percent O4 d

and we'll call it a JPEG

because that's what we have in the readnot

so save that slide our quality up to 100

and we're ready to go okay

so now our our clean plate script is complete

we're gonna wanna save this

and we'd saved his heli clean frame v 0 1

so we'll just resave that

since it's still our version one

and we'll move on to putting the helicopter back on top

and I'll introduce the precomp node

so now in order to use this as a pre precomp node

we've saved it so we're gonna wanna open

a open a new project

and uh actually have one open here already

so we're gonna wanna add a precomp node

now the precomp note is pretty straightforward

it's just got a file pass here so we'll look for our

path we saved out earlier for our clean frame

and that was clean frame v 0 1

and then load that guy in right there

and if we wanna look at it

voila

we have all

the frames that we've been working on over there

there's a couple other options in here

for missing frames

so if someone's working on

maybe putting a CG

piece together and they're still waiting on some frames

you can have it air out instead of

instead of just go go black

whatever you prefer

also the reason we put that right node at the bottom

here was because we can press this render button

and it'll render our right node

um and it says

if we get a message from our friends and it's ready

well we can reload the script and we could just use

click this button to open it so

pretty handy note to just have in there and not

have all those other notes cluttering it up

and you guys can work side by side

alright so before I

do any more paint work and

start replacing this helicopter on

top of our clean frame

I wanna take one more look at the shot

and see just exactly what we need to do here um

at first look

we have a pretty nice clean frame

but it's gonna be a lot of work to just

either roto the entire helicopter

or try to come up with a combination of keys

in order to put him fully on our new clean plate so

what I think I'll do is roto these wires

um follow their animation

and just replace the sky on those areas

and then we'll use a combination of key

roto and paint

to fill in the areas of the helicopter that

are getting covered up by new sky okay

so what I'm gonna do in that case

is bring in a roto node here

our favorite roto node

and we'll start rutling out this top wire here

so bring this guy here and fortunately

we can go full screen with these new Rotto nodes

something I still need to get a little bit used to

and we'll start here

now you could take

the ones we drawn before and just start animating those

and prevent you from drawing a shape

but I thought I'd just draw a nice

close one for now

maybe add a few extra points

just in case I need them

and start doing it that way

and I won't bore you guys with all this roto here

but basically what I'm just give you a quick few frames

and then I'll do the rest of them

and we can get right back to it

so we'll go through here few frames

and then we see it's come up so

grab our roto shape where we need to right here

move it up into place

and move this guy into place

just follow it as closely as we can and

get all these maps

mats prepared

so I'll finish these up and then I'll

hand the roto to you guys

so I finished up the wire roto

and I also took a little bit of time to make a key

for the helicopter

and to save us a little bit of roto here

and rotate it where I needed to

and I won't go over that

at the moment

but I will go over

some of these methods in the key in class

but I'll leave this in here for you now

so you can take a quick poke through and

see how I did everything

and instead I'm gonna spend the time today going over

combining these two mats and

using this color channel that we made to

finish up our wire removal

okay so let me just explain where we're going with this

here we've come up with this key to get us

a mat for the helicopter

and we've got a roto mat for our wires here

now we need to

do is come up with a combination of mats

that's gonna leave us with just the area we want

we want to replace

uh with our new sky in it

in order to do that

we're gonna have to combine

the mat of the wire with the mat of the helicopter

to get the result we want

but to start out with

let's just take our

our wire roto

we'll leave this guy alone

this prep work we've done over here

which someone could have been doing while we were

making the clean frame using our comp node handy

and we're gonna introduce the copy node

and the copy node

I believe is

K is the hot key all it is

let's use the one that came in with the hot key

Jeremy will go over this node in much more detail

towards the later

section of the semester

but I'll give you a brief intro

as to what it's doing since I'll be using it in a few

a few classes down the road

so we have an a input and a B input

and the way I like to think of this in

sort of layman's terms

is that my B is gonna be my color path

so whatever I want my color from

I want to attach my B2

boom clean plate

whatever I want my alpha coming from

I want to attach my a from

boom wire so now when we look at this

we will have

an alpha channel that we have coming from our a pipe

and a color channel from our B pipe

so now that we have what we want here

we're gonna use just a straight over

we're gonna pull our read note aside here

from our work that we have over here

it's all our mat work

so we're gonna keep that off to the right

and we've got our color here and

our alpha behind it like we'd mentioned

and now I want to over the two of these

so I'll select this

then select this

press the m key to get my over and ah

that arrow got connected as well

so we're gonna wanna take him away

and put him right back to the read node

and what we run into here is a pre multiplication error

we have an alpha channel with a color channel

but in order to use it properly in the over

we need to add a node called the premult node

and when we add that

you'll see that the color

does not change

between the two columns with the exception of

the paint right here okay so

we look at that and we say huh

our clean frame looked a little

bit better than that didn't it

so we're gonna need to do a little bit of love and

care to our roto that we got for the wires

so in order to do that

I am going to just

use another one of those fancier roads

just use a fast one this time because I

just messing around with a pretty simple alpha

and I'll also put a blur under that using the B key

and let's see

we'll go through this and we'll dilate it a little bit

um and just find a spot that looks like it'll work

and combine everything well

and then we'll mess around with these numbers here

increase our blur

soften those edges a lot

and maybe we'll dilate a little bit more

there we have

it sort of blends in a little bit better there

and we could go back and adjust our painting as we need

um or have someone else do it for us

and then use our reload button to update it um

and this is a handy way to see

exactly what needs to be painted

and doesn't need to be painted

etcetera so

now we can see that our problems lie

with our helicopter

we got to put the helicopter back on top

and that's the whole purpose of what this key was for

so it did tie itself in there at last

so now we have

an option of what to do

we can use a similar technique that we did here

and we can take a color channel and an alpha channel

and put it together and then over that

over the top of our wires

for example

take our alpha from here

our color from here

and merge the two and what are we forgetting a premult

so now we have pretty much what we're looking for

we got a little bit of problems here in our edges

and we can either go go back

and and paint that or adjust our blurs and things

but not too bad the wires are looking pretty good there

we're kinda getting the results we needed there

and they're not causing us too much problem

so that would be one way to do this

but to prevent all this

getting into a spaghetti junction and

not knowing what's what

we can combine our mats beforehand

and then just

use one copy

one premult and one over over the plate

for our work

so let's let's go back and examine how we might do that

okay so now we want to take this mat

and get the same result we had before

except without so many nodes

unless you're getting paid by the node

and then of course

you'll want to add as many nodes as you can

but typically contracts don't work that way

so we're gonna take this

set of channels that we've made here

and we're gonna combine them oh

this is what will happen if you

connect a copy incorrectly

if you don't have an alpha piping in

it'll give you this error

say missing input channel

so you're gonna need something with an alpha

you can't just pipe

something without an alpha in there

because still won't work

that's what it's looking for

okay so back to where we were beforehand

I wanna combine this mat with this mat

so I'm gonna use a merge node and when I combine these

I'm gonna want to multiply the two together

and when we look at that result

we get something that's all over the place

and the reason for that is because we have white here

and white here

but what we want to say is

where we have white

we want this alpha

so that's why we get this result

we only had white inside the helicopter

that we got from our B input

and we have black everywhere else

so it takes the black and gets rid of the white outside

except for where there was white in our B pipe alpha

so in order to get the white where we want it to be

we're gonna add an invert node here

and that invert node

gives us the result we were hoping for

okay

so now that we have our alpha that we had hoped for

we can simply drag our arrow from our copy node

we'll look at that again

and now it's got an alpha channel coming in there

so it's happy

put it through the premult

go to the merge and time for the big reveal hey

that's what we were looking for alright

so now we have our same result

and we can go through here and

keep our network over here

clean this guy up a little bit

keep our B pipe alright

so now all that's left to do is run through here and

see what's missing

and what's not gonna work so we'll press play

RAM that up and check back in

okay so now as we play this through

oh no it's looking

looking pretty decent

and we're getting pretty close um

we'll probably have a few frames of

frame by frame paint like I mentioned at the beginning

that would be unavoidable

but for the most part it looks like

the leg works done and step through here frame by frame

even though it wasn't playing much faster than that

okay and we'll look for problems ah

there's one okay

so here's a problem we're running into is a lot of

the debris is being cut out by some of those

rotto shapes we put in um

so we want to go through and look for things like that

and perhaps maybe some

imperfections in the motion blur

maybe whenever there would be

a right angle or something like that

there's bound to be one around here

something like this

you can go back in and just sort of smooth those over

so they're not so noticeable

another thing that happens is as the shadow

comes in towards the rock

you can notice

we have a line here that's uh

slightly lighter than the shadow

so we can go in and and use

the Roto paint note to clean up some of these

last fixes and then

we'll be on our way okay

so we're just gonna add a paint note here

and I know that I'm gonna want to

put some of the plate back on top of these areas here

so we're gonna connect this to the plate

and actually while we're at it

we'll keep our down into the right workflow

that I was talking about beforehand so

we'll put this

note over here

hold down the command key

get these fancy yellow dots and bring it in

one of Jeremy's elbows

and put our paint node below that

and since I know that I'm gonna be

needing to reveal the

the plate on top of this

I want to set up another background

uh into my Roto paint node

so we'll go over here and

and grab one of these background arrows

and hook it back up to

the plate that's coming down from the left here so

now we'll be all set up to paint

and we can go into full screen mode

and look for some of those problem frames

there's a pretty good one to start with

switch the reveal mode

or you can press the C key if you like

bring that brush up and just sort of

reveal the plate in places that I think I need it

and being careful to observe where

the wire might be visible

and if the wire is visible

just go ahead and paint it out on those frames

using the clone brush and clone some other areas

and this time you'll notice

we don't wanna go back and change the frame

because we want it on a frame by frame basis

so we're gonna go through here and

just clean some of these up

see what's under there

if we don't like it

we can always delete it

that's the best thing about computers

too bad there's not an edit undo in real life

that would save me from a lot of headaches okay

so here's one

where we notice we've got a lot of motion blur

and the wire still present so

switch over to the clone node

drag this guy

and I'll try to I'll try to offset

my clone brush to an angle that I'm gonna end on

so that it gets a similar fade out to other areas

of the comp um

maybe bring some from up here just to

get rid of that wire there

especially when you're working with gradients

you wanna try and angle them

so that they're similar to the gradient

of the surrounding piece that you're using to paint

we'll go in and just blur that guy together

and there you go

so you can carry on painting out

that one there or we can

find out what paint strokes doing that

maybe we paint it in too much

and we could get away with leaving some out

and it looks like we can

so this would be one of those times that might not be a

bad idea to use the eraser tool as opposed to um

going back and finding the stroke and deleting it

because that's just the one frame

so it'll be okay

uh for the frame

and while you're painting this stuff

uh like I said before

you're gonna wanna have your two arrow there

your one arrow there

so you can go back through and compare what

you're missing and what you still need to paint in

so for this one

we could probably reveal a little bit more

we won't have to go nuts with it because like I said

it is one frame and

hopefully that edge won't be missed too much

and if it is

you can always go back in and put it back later

step through here and see

we're getting pretty good results going through there

okay

so now we wanna scrub through and just sort of

see where we've gotten to

um and think of where any frames might be

needing a little extra love and care

we'll go through

and see probably around the explosion area

we wanna make sure there's no wires popping back into

the frame and there are

so we wanna stop that

and take a look about what we can do there

so there you can see there's a hint of a wire in there

so that's one that you're

gonna wanna go in and uh and paint out frame by frame

and the reason that wires there is because uh

if we left the other one

in there just be a lighter blue and it gets very

very orange here

so you have a choice of either animating a grade

or going through and painting it frame by frame

in this case

I would recommend going

for the frame by frame approach because

sometimes those matching grades animating grades can be

rather time consuming

whereas this one won't be too time consuming

and especially since it's just the one frame

you just want to make sure that your

quick with it and

clone from different sources

so that it doesn't look like there's a huge line there

you probably do a better job with that

and so you wanna keep going with that and just

paint out whatever frames you can see

and this last one here is is pretty pretty obvious

so that's when you wanna

get rid of before the art director sees

and then

blur this guy a little bit

okay

okay so just before we leave

I wanna mention

there's that one frame in the shadows that we saw

um so we'll go in and investigate the dodging burn tool

um if you take a look at the Dodge tool

you'll notice that

our overlay mode up here has changed to color Dodge

um so if you switch to burn it'll change to color burn

so we can see what's gonna happen there

by holding over here

gives us some of our mat

and we can see that

our color burn is gonna darken B towards a

and the color dodge is gonna brighten B towards a

so we're gonna probably wanna take our burn tool and

uh the opacity I believe standard is set to 1

so let's see what happens when we mess around with that

whoa way too dark

so what we wanna do is really come down on that opacity

bring it down to uh probably

0.1 let's try

let's try that one

and that's still pretty dark

so maybe you don't want to come down

a little bit more than that

bring that to zero

and oops sorry

bring that to zero

bring that one to one

and go in there and delete that stroke and try it again

and there you go that gives us a nice little

area we can work with so

there's a little bit of a before and after

so it helps just not stand up quite so much

so hope you guys have enjoyed the paint tutorial today

we got a pretty exciting keen one coming up

and then we got some great classes lined up here

so I look forward to seeing you guys in the forums and

talking to you online