All language subtitles for nuk214-class06

good morning

how's everyone doing

uh this is Charles Le Page here

and I'm gonna be picking up where Jeremy left off

uh from the Class 5 script

so uh we'll go ahead and open that

okay so we'll poke around here and uh

and see what we have and and what we gotta work with

uh by the looks of things

he set up a projection for us

he's left us a nice handy little note in here

it's always helpful

um especially when

we get to setting up our camera and everything later

uh our resolution

so we'll check our project settings alright

looks like you did a pretty good job setting

all this stuff up

um now when I get a script from someone

uh first of all we wanna look at what we have to do

we've got our read note and uh

it's a still to life class

so we're gonna be putting some life into this

still here um

so I'm gonna take a look at the uh

the scene in 3D that he's given us and see what we have

and don't have here

increase my number from two here to

probably 10

uh just so we can

fit everything in there

um I like to do this just to make sure I have

all the right pieces and um

corresponding geometry

so click on that

that looks like see

zoom in here

and here we got leaf too

looks like a leaf

looks like a leaf

uh snow hmm

looks like we got something but it's under this ball

so let's carry along and see what else we got stem

ice chunk ice chunk

flower okay

so our snow is under our flower here

and card I presume is the background okay

so let's take a look

and see what happens if we disconnect this flower

open up our scene again

and snow so just from looking at this

I'm gonna guess that

the snow is meant to go on top of the flower

plug that flower in again and see

and here we have our flower over the top um

we could either shrink this a nuke or

or send it back to Jeremy and and see

see what what he was thinking with this one

or we can simply just replace it with a uh

with a nuke sphere so

uh we'll just go ahead and do that since he's probably

busy with something at this point

and it's not the end of the world whoops

so take a look and see where that guy came in

okay

open up the rest of our scene

disconnect that flower there

and we're gonna probably wanna scale this guy up to

maybe

3.5

um bring it down and

just to make sure this is gonna be in the right place

we'll take a look at our scanline renderer

oh yish

okay I guess I didn't finish looking at my scene

we got the projection cam here

which is from a file

and our camera down here which is not from a file

so this must be a standard nuke camera

with a z of 11 so

let's take a quick look through our projection camera

and see how our flower Sierra is doing

plug it in there

connected to our scene

and now okay

so not quite big enough so we wanna lower him

maybe make him a little bit bigger

it's a little hard to tell

because we got the projection of the card behind

so we always disconnect that

and then we can

see a little bit more of what's going on

okay great that should do it

so before we had one that

was just a little bit too big with the snow on top

and now we've

replaced it with a local nuke sphere

plug our card back in

and look at that

now we can see what we need to work with

so if we take a look at this scene

we gotta decide what we wanna do to it

we don't wanna add a camera move of some sort

and then uh maybe little bits of flare here and there

and perhaps a Z blur of some sort um

so we're gonna go back into the 3D environment

and take a look at uh

how we're gonna accomplish that

uh we got some nice projections set up here

uh if we wanna just move the camera

around the projections um

wanna go back to our normal camera here now

if we wanna just move our camera around the projections

we can do that freely without causing any damage uh

however if we wanna move the geometry

and just put a

transform Geo node down here

and move everything

say left or right

you can see that

our textures just slide around on the geometry there

so we really

before we get too deep into this

we wanna figure out exactly what we wanna do

so that we can put it together properly

if we're just gonna move the camera uh

we'll save some time

the projections are already done

and we can just move right along from here

if we feel like we might need to

move or adjust the geometry in any way

uh we'll have to look at an alternate way of doing it

but for now we're gonna stick with the uh

move the camera around the object method

and we can always go back and adjust from there

alright so we checked all our work

all our 3D objects make sense in 3D space here

um so now we

we should move on to

seeing how we

should split up this image into what pieces we need

we've got the geometry that Jeremy's

labelled pretty well uh

which helps us

decide what to break

break pieces of the image down into um

and in order to see what we need to paint

we're we're gonna come up with a little

bit of a camera move here uh

and then start generating some clean plates and pieces

and finish the shut up

so we've got

the standard nuke camera here

uh that we brought in

which is obviously too

too close and

we can spend some time setting this up

uh with the specs that Jeremy gave us

or uh we could simply take

the projection camera

copy and paste that

and we've got a camera that

uh 9 lines up nicely with all the specs

and uh we can start our animation from there

uh we'll animate uh

an access node

and attach our camera to that

uh so that way when we make any adjustments here

uh if we don't like them

we haven't ruined the camera

uh that's a good method to use if you've gotten

an animated camera or something like that

you need to reposition it um

and it's easy to go back without

having to start all over again

so we can go into 3D space and look at what what camera

we want to change the name of that camera from

proj cam to scene cam first

before we forget keep everything nice and organized

and take a look at our axis

and we got to remember that we're rotating from

the axis point

so 0 0 here instead of actually the camera

which is also nice

in this case cause the camera is looking at 0 0 there

if you wanna look through this camera in 3D space

uh you can come up here to this camera button there

uh click it

make sure it's red

then from your drop down menu turn

turn it to scenecam

or projcam or whatever camera you wanna look through

and then you can have an idea of what you're doing in

in 3D space we'll go to frame one

and set a keyframe at 0 0

and then we'll come down to

frame 100

hold down the command key

or the control key to bring up this rotate in 3D

and maybe we can

come up with a nice little

rotation here and maybe round out these numbers

so just whoops 50

that'll be a tough one to pull off

negative 5 and let's say five

okay

there we go we got a nice little camera move there

and maybe we can get a little bit more out of it

on this end

yeah look at that beautiful okay

check that through our scan line renderer

and see what problems we've created for ourself

well the good news is that the projection will work

and the bad news is we gotta do

a lot of paint work now okay

since Jeremy's kindly labelled all this geometry for us

and we've got a good idea of where to start

um we're gonna go through here and make sure

we line all the right pieces up uh

and start separating them accordingly

so leaf 2 it looks like could be this guy here

so we'll start by retowing that out and

doing any paint we need to

so a retow node

take a look down here

and grab our friend the Bezier or Beastline

whichever you prefer

yeah

start rattling the night away

and once we have our shape finished

wanna check back down here

and make sure we're getting something out of that

we are great

looking through the space and

see what it looks like on the geometry

we haven't quite covered everything up

but press the F key to focus on

that particular piece of geometry

and we're getting somewhere

so back to Roto

and that'll that'll do for now so to premult

so that we don't get the rest of that

through our projection oops

enable that guy and

output alpha

there we are

and we can paint this top leaf away if we feel like it

with a paint node

and this is one thing I really like about projections

uh you just left with the 2D image there oops

bad place to start

and you can pretty much use nuke all the way up until

you plug it into the Projection Node um

and that works also if you're

if you've been setting up UVs and things like that uh

you can use all the 2D functionality of nuke

right before your image goes on to the geometry

oops went a little far with that

there we go that'll do maybe

oops blurred together a little here

perfect okay

and leaf one is out of the way we can maybe feather

feather this one on the inside a little bit

give us a nice soft

edge when we look through a projection

and carry on with the next one

alright so just to spare you some boredom

I went through and uh

and wrote it a few more shapes out uh

I oop turn that overlay back on

I did this did the second leaf

uh with the the same method as the first one uh

I didn't need to do any paint though

uh premulted it

then I went over

and I did the other simple shapes as well like the stem

premult that

and the ice chunk premult that

uh and I just wanted to talk a little

bit before we move on

uh about how to split up this snow and flower

cause as we get into the snow

it's not quite as easy as

uh those simple shapes

like the stem and a couple of those leaves

so we'll take a look at Jeremy's Geo

and see what he did for the snow

okay

so we've got room to work here

uh you can see that um

that we've got enough to

to sort of cut out a nice shape of all the solid snow

and we'll leave some of it on on the flower

so I'll try follow this line here

um through there up on the flower and uh

put that over the top and see how that works

so we'll start by just a nice basic shape to test it

go down here to the ellipse tool

get that nice fat bit of snow on there

and we'll throw a premode under there and just see

what that looks like through our skin line render

and I forgot turn off the alpha again

oh and I put the pre modes in the wrong place

control shift X

pops that node right out of the node graph

and it's good to see to check that out in in the RGBA

stage as well

make sure you're getting everything on that projection

uh from your shape we are uh such good news

uh turn that back to alpha

and go through and start adding more points

so you wanna be pretty articulate with this

uh remember you can always go back

so no need to go overboard but uh

since we're making

a pretty decent sized camera move on a still image

you're gonna wanna be careful with the points you add

uh just so you don't pick up any of that

excess background that you would know

would be noticeable once the camera was in motion um

the white areas obviously are are not as noticeable as

as say the green areas or something like that

so keep that in mind while you're redoing the shape out

and I will carry on with this one and see you

on the other side

and there we have it

the snow roto um

we're gonna need to go back and do some paint on this

but before we do um

I'm gonna move on to rotoing the flower uh

before I start rotting the flower

I wanna take a couple things into consideration uh

one is maybe what do I need to paint uh

because we have some leaves on top of our flower here

I don't want to end up retowing those in on accident

so in this case

I'll paint beforehand

I didn't on this one because the stems sticks out

so we can see if we're even gonna need to paint it

and it it's not a very confusing part um

it doesn't blend in too well with the rest of the snow

um but down here we

we did the roto earlier

uh from these two leaves

so I'm gonna wanna paint those out and uh

come up with

uh a back frame so that when this rotates

you don't see these leaves appear twice also uh

I wanna see where I need to roto

I'll need to include all the

the obvious brown parts

and then I'm gonna wanna

extend my roto up a little bit more

uh into the

in and behind the snow

just to make sure we have enough coverage uh

when we when we do our camera move uh

and don't run into any

any other funky areas

okay so now we can go ahead and start painting um

bringing a roto paint note here

and paint out the things that we don't want uh

first of all I'm gonna cover up this guy with this leaf

uh so I don't paint it out first

let's see

grab our friend the clone tool

and just start climbing in some of these areas oh

look at my paint node see what I'm doing

and this one's gonna be covered up mostly oops

mostly by that other leaf

so we don't need to be too precise with it

but it just helps to

change that form behind

behind the roto

and geometry that we've added in there um

oh yeah what

and we'll just clean this guy up around the edges

perhaps blur it together a little bit

just get something nice and fancy

we could probably leave this middle bit here and uh

we won't notice it too much or uh

we can go ahead and clone this guy down to help us

break up this area

and give us our new shape to our leaf there

oops

I don't know why

just have some fun with the paint

like I said before in the paint tutorial

flex your muscle and make it look good

alright and keep in mind you're rotoing this too

so you have a little bit of room to make

the shape up there as well

uh we'll paint out this bad boy here

so we don't include him in our roto

it looks like we're

getting something we could work with

smooth over that edge

a little bit

and we'll paint this guy out just for the heck of it

okay so that'll do for now and uh

in terms of paint uh

we can do additional paint work when we're done as well

after we wrote oh

so I'm gonna

like I said before

read all the flower that I can

and then get a little bit of overlap

just to help us with our camera move just in case

so I'm just gonna start

red on this flower at the bottom here

I won't make your eyes bleed by watching me do this

so I'll let you guys do this on your own time

put on some good music

and just rotted the flowers away

and then we'll check back in

see what other paint we need to do

and then start fantifying this this comp

all right we're back

and the road is finished magic

I changed my shape color to black

just because I was having a little bit of trouble

seeing it on that white surface

I also wanted to point out that

when I work with big image sizes like this

typically use proxy mode

um which I have up here

that is set in your project settings

down here at the bottom

you have a proxy mode that you

can turn to scale format

whatever you choose uh

point five scale usually works uh

just to give me that

little bit of extra performance that I need

so whenever I'm working

with 4K plates or something like that

I'll I'll use that for working

and then when I need to see it in full detail

turn it off or before render

turn it off as well

and we'll look out

for anything else that could be of concern

uh believe I have probably animation on this

nope I don't good

so we're picking up something

from somewhere else

so we'll have to figure out where this double edging is

coming from

uh

we'll start with the snow

that makes sense

okay so we're gonna go into 3D space and take a look

at where that edging might be coming from

and just as I suspected

in our Project 3D node

uh you have both front or back if we turn that to front

and then take another look at our scanline render

uh nicely nicely done

gets rid of that edge

uh it'll project on both sides

and since that jam true is angled

that gives us an edge that we weren't

weren't hoping for

so and I think that's actually happening down here with

the flower as well

so project 3D4

front and I

that's perfect

that's what we're looking for

so it's looking pretty good through all the frames

we're just gonna wanna clean up the background

and uh see what we have left

so I'm gonna go into

my background there

which has the whole image and add a roto paint node

and like I said before

you can do this in Photoshop if you prefer

uh whatever method gets it done quickly for you

I've been liking the

nuke paint tool so I'm gonna do this all in nuke

and just quickly paint everything out

you can use a series of transform masks if you want to

and any other methods that we discuss from class 2

alright and with more of that movie magic

we're back with a clean frame

uh so like I said

it just cloned and painted different areas

and then since the background was blurry

we could get away with blurring a lot of it together

take a look at our result

and we're getting pretty close there

maybe do a little

edge work to soften up some of those flower

and snow edges

uh and towards the end here

it looks like our our back

our backplates not quite big enough

so we'll go over a couple of alternate methods to

fix that background plate and carry on from here

so we have a couple options to address this

gap in the background we have here

one will be to project this on the inside of a sphere

and scale it up until we had the right size and shape

until it filled up the background for the entire shot

but the card has a neat feature that I'd like to

demonstrate and that's the bicubic

and you can if you go into the deform tab on the card

and select by cubic from the drop down menu

you'll see that you get these

bezier handles on your card and if you move those

you can see that it'll deform

your background image as you like um

if we take a look at that in 3D space

you can get a

a better sense of what's going on

you're actually deforming this card in 3D space

um by the use of these handles

you gotta be careful which ones you select

as you can see here

otherwise it'll give you some funky results

but it's a great little tool to

get things like this done quickly

and efficiently

especially since you can select these handles

through the viewport uh

not just in 3D space

uh that really makes them

uh extremely useful

for all sorts of aspects in 2D and 3D compositing

so if we take a look uh

through the view port

we can see that we're probably gonna need to do a

a two d transform as well just to

get the card in better position um

we'll drop it down in y here

before we start messing around too much with our

with our bicubic handles there

and maybe we'll just

scale it up a tad

just till we have something workable

and we go back into our deform tab up here

grab these handles

and just pull them out there and forward

and also we'll try to give

give the card a little bit of a bend to it

just to get rid of that that

plainer look that it had beforehand um

so perhaps if we can give this a nice little bend to it

it'll rotate nicely behind

behind the acorn

or flower rather

so we're looking 2D

and just level those handles out a little bit

scrub back to the beginning of the frame range

make sure we're not causing any other

troubles on the other end

and you can see we've got a nice little fix

going on there

so now we've

taken care of all the main elements that uh

are required for our projection here

so and it's looking pretty good

it's coming a long way

so now we can have a little bit of fun with it

maybe do a little bit of of edge work

uh back on some of our roto

uh perhaps on the flower and ice

we can maybe soften those edges a little bit

um go up to that snow there and maybe add a

new road or something like that

uh my friend the erode blur oh

wanna do that before the premult

otherwise we're not gonna have too much success with it

so you just pull away some of those edges there

maybe we only need two

and then a blur of one

play around with those values until

you find something that you're satisfied with and

maybe soften up the

edge of the flower with the similar technique

again in before the pre mold

take a look there

it just kind of helps

bleed it into the environment there without get

getting rid of some of those green edges

and some of those

highlights that are a little bit too bright

and just helps solve the shot a little bit

so now I'm starting to feel pretty good about my comp

it's time to have a little bit of fun with it and uh

really hit this one home

so with that I'm gonna introduce to you Z blur node

which is a blur node used by Germans and or

a blur node used by someone that wants to blur

by the depth channel

so if we take a look at the

output of the scan line renderer

we have our RGBA

and if we drop down here in the viewer menu

we can take a look at our depth channel

and see that we're outputting depth information uh

through the scanline render as well

we can use this depth information

uh to help us blur image based on distance

or even do something like a rack focus

uh anything fancy with blurs

this is a great way to do it

if you've got the depth information

um and you can either have it come through

the scanline render or perhaps it's a pass out of Maya

or Vere or something like that

to use a pass that came out of Vere or Maya

you could uh

pipe your channels together and maybe

maybe call it depth dot Z or whatever you

whatever you wanna call it

and uh blur by that channel

uh the math you would use would depend on what program

you're receiving your death map from

so uh in this case

we're getting it from nuke

so we'll mouse over

uh the math menu here and see that far equals zero

says that's used mostly by nuke and Render Man

so that's what we'll set it to today

if you're using something maybe out of Maya

you could do far equals minus 0 and you'll

play around with the results and and

and you'll see what each one does

we will check the inclusion box

this box uh

just says that things that

are closer to the camera won't be uh

blurred twice basically

so you get the correct blurring going on by things that

are included by using this check box

and now for the focal plane setup

we check this box

the screen goes red and it pretty much becomes useless

but that's because

we have to go down to the next box

focus plane

and if we play around with that

you can see what

what happens

uh the focus plane basically has a red plane

closest to the camera

a blue plane

farther from the camera

and uh anything that's in between

so uh black in this case would be

uh what's in focus

uh there's a depth of field box below that

if you need to

uh fake the depth of field to get a

a bigger range in there

um but if you mouse over there it says true

true theoretical depth of field uh

is set to 0

so we're gonna leave that as 0

and see what we can accomplish

uh size is the amount of blur

got your maximum

the amount of blur that it can go to and

filter shape etc

so we're gonna start by messing around with

the focus plane a little bit will

bump up our size to maybe say

20 just so we get some really

visual results

and we'll just mess around with our focus

playing a little bit

like I said before

we're gonna want something

that has red in the front and blue in the back

oop that's a little too far

and then we can take a look at

our RGB channel

and see that uh our flowers nicely blurring there

we can play around with our maximum

see if we can get anything more out of that

and we do so we'll leave that up around 15 or so

and looks like a good way to start our rack focus

so we'll set a keyframe on our focus plane

and then we'll scroll through say maybe 50 frames

turn our focus plane back on

and see if we can

get that into

a nice gradient there

where we get our black coming through on the flower

just really fine tune it

till we get exactly what we want

take our focal plane off

there you have it

we got our nice focus flower again

so if we scroll back in time we can see

make sure our animation's happening

and ram that up and see what it looks like

so you're sitting at your desk

it's about 5 o'clock in the afternoon

you're feeling smug

liking the way your comp's looking

supervisor comes over

2 minutes before the end of the day says I love it

looks great

let's make it 10% bigger

render go home

so what you try to do is you grab a transform geonode

and you say okay I'll drop this guy in here

I'll scale it up

and move it up

and what's happening

nothing nothing good anyway

all of a sudden your comes falling apart

you're stressing out

you got dinner plans

let's look at how to solve this problem

so there's two ways you can do this

um this is due to the problem I was showing guys before

uh their projections on geometry

uh so if you move the geometry

the projection misses the geometry

so one way to do this is to turn the projection into

UVs so uh in order for that to happen though

you have to have UVs that are uh correctly laid out

or at least so that everything's not on top of itself

so in order to turn your projection into UVs

you're gonna wanna bring in a scanline renderer

and bring it up underneath your geometry oops

grab the right one

and plug your object unseen arrow

into your geometry read node

then in your scan line render under projection mode

select UV from the drop down list and take a look

now Jeremy's been kind enough to lay these UVs out

so uh they look

uh pretty good

that's the image that's being projected onto

the geometry stretched around

so now we can take this image

and using the apply material node

we can grab the matte arrow

which is now our material from our UVs

and then the other arrow

will plug back into our geometry

and then plug that into our scene

and if you look at our scan line render output

you can see that nothing's changed it's still the same

so

this is another way to get the same result however

this one you can add a transform oops sorry

a transform Geo underneath

and then when you move your geometry around in 3D space

the texture goes with it

so um that's a great way to do um

textures and things

especially if you're

if you're needing to paint on top of it

well once you've got your UVs laid out here

uh you can use the paint tool

whatever you need

uh underneath that and then plug

your material arrow into the bottom of that 2D chain

and put it back on your geometry

and uh carry on from there

so anytime you have a balcony or something that

has stretched projections

you can lay that

lay out the UVs

paint on top of the stretching

and uh carry on from there

uh but as you can see

this would be a big setup for uh what we have here

we've got uh

three or four of these

and sometimes you can have even more of those

um so let's look at another way to do

another transform like that

we'll get rid of that and go back to normal

and this time we're also gonna use a transform mast

or transform Geo

and we're gonna plug it in after our C node

so we can move everything all at once however

like I demonstrated before

if I was just to move this around

uh we would just break our projection

so what I'm gonna do is I'm gonna

grab another access node

and I'm gonna attach it to our projection camera

and bring this guy out here

and we're gonna create an expression

from our Transform Geo to our axis

so that we can adjust our values in our Transform Geo

and we will move the camera at the same time

that's projecting on our geometry that we're moving

so they'll all move in unison

and you can accomplish the same result that we got

by applying the UVs to the geometry

so in case you don't have properly laid out UVs

this is a a great plan B

so in order to create that expression

you're gonna want to control drag on a PC

uh command drag on a Mac

the values from

each category that you may want to transform

from the transform Geo to the axis note

and let's do the scale as well

and then you can see

uh our our expression link arrow there

and if we test it by doing a quick scale

if you try to do it in in your axis node

you'll notice that nothing happens

because it is expression linked to our transform Geo

but if you do it in the transform Geo

boom there you are

you're 10% bigger

you ready to render and go home

the only drawback to this is

you notice now that we're doing that

it's also scaling up our background

but they didn't want anything done to the background

they just wanted it done to the flower

so the only way we can separate that out

uh using this technique is to add a scan line renderer

a second one and attach it to our card

unplug our card from that scene and

use our friend the over to merge a over B

for our final pipe

and you know it's not not a bad idea to

separate out your background like that because

once you've got that separated you can

if you take a look at your old scanline render output

you've got just the alpha from your foreground

and it's not contaminated by your background there

so that's a great way to uh

manipulate the edges of your foreground as well

so not a bad technique

we'll stick with that one for this case and uh

raise this by point of 5

so it all fits in the shot there

maybe give it a get out of our alpha channel

go to our last frame we had that issue with the stem

where it looked like

it wasn't quite connecting at the end there

so now it is and if it wasn't

we could just translate up a little bit

for the overall shot

maybe that's a little bit too much

there you have it

and also when you come set up this way

with a separate background

coming through your scan line render

you can add

a lot of God rays and things like that just to really

really ham up your shots

so that's gonna wrap up our lesson for today

feel free to carry on with this

like I said

you got a separate foreground and background now

so you can add little bits of flare here and there

like maybe some volume raise

that's always a big crowd pleaser

I hope you learn how to set up some

some projections here and uh

remember the two

two various ways to move projections about in

in space and sort of do some

do some planning ahead before you start doing

projections

and really know what you're gonna have to do

and and this is a great technique for a steel frame

but it also works really

really well with motion frames

I'd like to thanks

thank Jeremy for providing us with this

fantastic picture to work with

and also setting up that pre comp

and keeping everything labelled and organised

so I could pick up right where he left off

so thanks for joining me

I'm Charles Lupage

I look forward to hearing from you guys in the forums

and we'll see you in a couple weeks