All language subtitles for 3月5日 (9)

okay so let's talk about the RGB versus alpha

or what I like to call the d spill versus the mat

and these are two different things we create separately

and then we combine them together at the end

the actual d spill is taking the green polluted

light that's the green light that be bouncing and hits

Jack here on the face

and you know little little areas that are

really green like in this reflective goggles here

and also in between little here's here

that's how we got to get we have to basically get

rid of the green

and then over here

this is where we create

the mat so this is all about

creating the black and white mat

this is all about creating the actual RGB information

and then finally we use this as the cookie dough

laid out on a cookie sheet

whereas the alpha is sort of like the cookie cutout

stencil shape that cuts out the eventual RGB

so these are taken into accounts separately and then

again

the alpha consists of the core mat and the fringe mat

and then the

d spill has to do with the core d spill and the

Edge d spill so there is an element where

we're gonna have to maintain as much as we possibly

can the original skin tones

you will not want to tick off the DP or the colorist

as a compositor

by actually changing the skin tones because

maybe they're meant to be left that way

sometimes of course you will have the color grade

the background to the foreground and let the colorist

do the stylistic approach

but ultimately

you have to be extremely cautious

not to affect the skin tones

I know when we were doing the Capital One commercials

even though Sam Jackson is a relatively dark complexion

we had be very careful

not to fiddle with his skin tones

through the whole process

it was more about

just be

very careful to match him and being very careful about

color grading to get not too goofy

because there's two people you can

tick off in the professional world

one of which is your colorist and the other of course

is the original cinematographer

and in our case that was John Schwarzman

who is going to be the

DP for Star Wars Episode 9

and these big wigs you do not want to tick off

so they'll of course

even in the post process

actually meet with the colorist and just

kind of look at the final

image because

ultimately it is their vision

they are the quote unquote cinematographer despite the

heavy hand of the

you know the colorist as well as

ultimately and also as compositors

so just kind of keep that in mind

throughout the whole process that the whole point of

doing a Core d spill is to

kind of maintain the core

almost like how we create the core with the

with the alpha

the core is to kind of keep that going

and then the edges

that's where we can have a little bit of play

to kind of blend the two together in the background

as far as the back plate whatever we choose

it's going to be behind Jack here

in the foreground

so the d spill has its greatest hits

we have expressions

these are really great

this is one of the real popular

expressions where it talks about

if green is greater than

the red and blue combined divided by 2 or the average

then take the red and the blue

divided by 2 that's your green

again I'm not much of a math guide

but anyway it does take out the green really

effectively in this expression

it's the most popular expressions used

it also maintains the luminance information pretty

well throughout the process

not completely but it does do a good job

the key light is even though this is a key

this can act as an actual d spell

and I'm going to go over that

the hue correct is another one that kind of

gate little spot areas

this is extremely difficult key

even though it may look very simple with Jack

because

we're going to have all types of issues with his beard

we're going to have issues over here

there's all types of stuff

things we're going to have to do with these goggles

and the transparency issues

and then there's kill spill kill spill is

really really popular in the industry

this is pixel fudger I think they are

kill spill you can get this off a new Wikipedia

you can see there's a suppression a limiter

a spill tweak

and you can choose either

red screen green screen or blue screen

again really awesome

and then of course there's d spill madness which

will not

necessarily work unless you have it plugged in

installed it's a little bit more complicated

d spill madness is downloaded off newkpd

com those are the most popular

Dspill tools that we use in the industry

and I'm going to show you

kind of kind of go through all those

as we kind of move through this training video

but I first want to kind of show you guys the

actual mat that I created

with Jack

or what I decided upon so obviously I did a d noise

and there is no d noise when you deal with the d spill

there's no need to do that it's just what it is

the whole point of this is we're not worried about the

red green blue information

we worry about the alpha

that we're gonna be building off of

the red green blue

so I used a primat

see it's pretty clean

if I slam the gamba down there is no holes in him

and then I went ahead and grated

him up a little bit here

so you can see right here

if I take a look

I just crushed the blacks a little bit

brought the gamba down a little bit

gamma

in this sense is going to play with the gradient here

it's going to lock down your absolute whites

and absolute blacks

but it's going to allow you to kind of

I put my viewer to it here

kind of adjust

the fall off so you can kind of create

somewhat of a feathering effect

if you want to pull back a little bit

which is what we're always trying to do with the core

trying to pull it back a little bit

because it's going to be that

piece

of the pie that fills in the Swiss cheese holes of

our fringe mat

so then I like to dilate it out just a hair

so if you can see I just dilate it out just a bit

and that basically if there's any holes in here

in this case I might not even need this dilay

because if you kind of

crush down you can see I don't see any holes in here

but just by dilating

a little bit

if there was holes in here you can dilate out

I would never do a dilate more than maybe one pixel

usually

that's just what it is

and then the filter rode

this is where we do the pull back

we have to shrink it in

to be on the inside of what is the fringe mat

so if I go ahead and take a look at it

you can see we're losing this area right here

and then we blur it

a little bit

so you can see here's the blur

this is at 19

again I could probably go a little bit less than that

and just kind of blur it out a little bit

you know so what's important to note

when we come over to our fringe mat

I went ahead and I didn't use the daisy chain

version of the IPK color

because I found this

actually gave me a pretty good result

so the IBK color you can see it's extremely eroded

right I had to pretty much

erode this out pretty inextensively

so let me go ahead and show you what that looks like

so there it is

and if you take a look at the alpha

it's been eroded pretty heavy

so what it is is the default 10

I really had to you know bring down the darks

bring up the lights a little bit

I eroded very heavily

you can see I'm

eroding pretty far to get outside the

boundaries of Jack's hairs that are sticking out

and then I just patch black 11 daylights out of it

and bring it in

so here's my IBK color with all the defaults setup

there's nothing here

except they have luminance match on

and if we take a look at the Alpha Edge

we have these beautiful hairs

which is what we're trying to hold on to

we do have transparency here

but that's where the core mat's going to come in

and fix that so if I come over here and click and drag

you see these values are below point zero five

and that's legal

so in other words

when we mat this on the back of a back plate image

we're not going to

see this noise visible to the human eye when

you know the scenes moving

we're not going to see some

you know weird cloud moving around up here

so just be aware of the point 05 or

less is actually acceptable

so don't always

think your mat has to be perfectly black and white

especially when you get into gray mats

such as windshields and so forth on a car

so IBK gizmo is looking good

we could push this red weight and in this case

blue weight back and forth

I did a little bit of a grade

I commonly do

a grade afterwards where I grade the alpha

and I grade the white 10.98

and you can see the difference here

I'm going to go ahead and slam the gamma down here

and you can see with this grade

if I turn it off and turn it on just by

inching the white point to point 98

just a hair you get something that is definitely

filling in the holes a little bit more right

as you can see here because

this area here is going to be tricky

because it may not be included in the final

solve with our actual

core mat so keep that in mind

again you can push this a little bit more

go to 97 90

you can see we're starting to creep up on that

highlight there

so these highlights

are the big problem areas because

they're practically white

in pixel value

and those can get in your way

so you don't want to get too crazy with this okay

because the more you fiddle with the black

point and white point

the more you're hardening up the edge of your mat

so if I take this back here

you can see if I continue to crush the white

we start expanding the mat out too far right

and again respectively the opposite direction

the black point we start to eat the hair up right

so this is something that you got to be

you don't want to touch

your fringe mat too much

through the process

so now we screen these together

which is a nice complement

and you can always hit d to disable to see

the difference

I always put the core mat in the a input because

if I disable it defaults to the B

so I can see this is basically without the core mat

with the core mat

what am I losing well I am losing

a little bit of this hair detail here

see if I can find it like this here

see that's basically being kind of sucked up

okay let's take a look over here

this is getting filled in but we still have a

little bit of issues here right

this stuff might have to require

an animated roto or some paintwork

to recover

again I could come over here maybe do

another key light to kind of fill in this area

like a localized based key for this

I could show you guys

I do that later

where I would like probably do an offset to this

do a key light that's

localized to this area

and try to pull a very soft

key for just this area and mask it to this area

and that will kind of maybe collect

some of this information here

this is very reminiscent

of a time when I was doing a Capital one commercial

and again you could look it up online

it's called Capital One

tiles

and it is Sam Jackson walking a bunch of moving blocks

and he was wearing very shiny

dress shoes

and they were so shiny that we had to literally

roto out his shoes

we could not pull a key out of

we tried many different key possibilities

but we could not do it

so we had to physically animate with motion blur

taking into account

his actual two shoes being moved

it was a very long shot

the longest shot in the commercial where

he was walking and

taking a side step

but it's pretty

it was pretty intense

to say the least

you know you had to be spot on

you have to be so spot on with the stuff

it's ridiculous

I didn't realize how spot on until you

start to work in the industry oh my gosh

okay so with that

I have this little quality check shuffle here

that

shows it basically shuffles the alpha channel to the

RGB this is commonly used for one reason alone

so that while I'm on the RGB channel

I can look at my alpha

and I can compare it to the original

you're always going to be going back

to the original to see

what you lost

you can see in this information

our matte line might have be

growing a little bit over

where it should right

let's go ahead and take a look

and you can see here if I just go back and forth

we've filled in this area here

I mean it's there but we have this

area here that's

basically going to be this green patch

so this is where d spill is going to come in

maybe save the day

so it's

a reality where you might want to come in here and go

okay did my IBK work don't always commit to an IBK

okay I'm just telling you that right now

so you might commit to a key light

so if you sit here

you know people will tell you like oh use IBK use IBK

well in this case it's a static shop

the camera is locked off

the value in this quadrant of this

green screen back

here is not going to change regardless of Jack moving

so if I go ahead and put this into the source

and I come in here and sample say

this area again I want to sample somewhere

close to his hair

I'll hold down shift Ctrl and Alt

just so I can re

sample instead of resampling the sample

and just start fiddling around

with the hair see if we can get

something that's decent here

so compare those two

so I'm gonna take this one

and I'm gonna compare this to the IBK

here it looks like the IBK is still holding on to a lot

we're getting a good hold out in this area

we're getting a bit of a cloud here

but that still might not be

bad reality

so don't freak out when you do this

and you're just like oh

so again commonly with the

key light

you can come in here and I usually I amp the screen

gain up just a hair

maybe like

101 you can see how much information we've lost

just by doing that right if I put this back to one

see that so one point oh five

let's go to one point oh one here

there we go

maybe 1.005

look at that I mean it's pretty intense the value here

the value here if I go ahead and click out of this

and just sample this area

you can see the value is still below

point zero five so this is acceptable

even though we get this kind of gray cloud up here

and then if that's the case we can take this

we can take a

roto node here

if we wish

and we go ahead

now I'll just do a quick merge

B for background a for a top

this is good if you're missing any here

details in the specific area here

so I'll take this roto

and I'll isolate it

out here before we start to get any weird noise

there we go

okay

now that we've done that I'll set this to mask

and don't forget that you want to also blur this

so hit b blur it

and that will blur the actual alpha edge

of your roto

there we go

so just go ahead and move this over here

extend this over

and then I can just add this in if I wish

usually the grade will put as last

so I'll just extend that out

and we'll just merge this in

so I'll merge this in

put it as screen

which is the

most gentlest way to kind of put stuff in here there

we go let's see the difference

you can see we have kind of

gained a little bit more information

the key here is again

maybe getting these little holes that we might want

so a core is probably going to take that away anyway

but you can see we've gained a little bit more here

detail just a little bit

by the way but this is a technique you can

kind of do if you feel that

there's still information missing

like let's let's try this area here

and I'm sorry to kind of push

I'm kind of staying on fringemans when this is a

d spilled tutorial

but I always get anxious when I do this type of stuff

because I kind of look at how can I improve this

how can I make it better

and you got to think of every single

scene in here as a painting

you know so you want to make it look really good

so I'm going to go to this key light

let's go ahead and sample this area

so it's okay to

combine

you know

things in here so if you take a look at a look

you got some pretty decent

detail here if we take a look at our original

gizmo look at we've

kind of lost this information here a little bit

see that

and then this information has been lost just a hair

so there's a lot of stuff that's kind of

missing there again what's the value of this here

whoops

doing this go ahead and click here

you can see the value is I put my viewer to it

what is that

it's basically point 01 right so we're still good to go

you could still use this

so can we play around with this

well in the key light

you do have options like I talked about before

you get the screen gain

kind of clean it up a little bit

or you have you know

let's try some screen mat options here

and

so you can do a little bit of this

this is dangerous though

the d spot but you can see the d spot kind of

will do its best to kind of

d spot black kind of fill in those

those holes

but you're getting this sort of weird cluttery

look to it here

but if you just kind of be very careful with this right

you might get away with it

and then of course you got the clip white

which is just the same thing as a grade node

set to alpha and then you're basically

crushing the white with the weight value

I can start pulling that back

to kind of get that information again

I'm going to scan this area you can see it's still

we're still legal point 02 right

so

up here we might be getting into danger territory

let's go ahead and see

009 yeah

this is bad news right here because we're above

point 05 but we have this isolate area

so I'm gonna do this whole thing again

I'll just copy and paste all these guys

and just redefine my roto edge here

and just say

this might have to be an animated roto

it's just the way it is

all right

so as long as we stay away from those areas

you can see you know right here

if I take a look and I'll just scan this area here

you can see the values

they get pretty close

maybe I'll bring that in a little bit more

but I've isolated out this area with a nice

clean piece so once again

I'm going to take a merge node with such a screen

just copy paste

and we'll isolate this here

this is king folks

if you don't like it then get out of the kitchen

it is a lot of work

it's not easy

one day when they start to get into

as they're building up the I

think it's the Leicestra camera

as well as infrared based keying

this misery will end one day

and will be out of work or keyers by trade

but for now it's still heavy so here is the

before and after

you can see we've retained the data

right here

so you can spot check these things with key light like

I talked about before

and of course right here might be

something you either have to paint or maybe roto

again

there's all types of little things you can do in here

you can put an animated roto in here

throughout the whole process

but again we're getting a nice key

so let's take a look at the

final result with the actual

core mat and let's go back to the original

so I'll set this back to RGB

so here's the original

and here is

the mat

so come when you walk around your mod a little bit

don't just say like I gotta get her and get this done

you know

is your mat expanding out further than it should

in this case maybe a little bit but not too much

I'm looking for things like look at his chin

he's got something going on here

I don't know if that's a reflection

but we did manage to capture that little chunk

of flesh or whatever it is

this stuff will look mucky so get used to it

let's go over here

that's looking pretty good

little bit of a sharp fall off right here

so we can maybe play around with that

could play with the gamma touch if we feel

again we've lost this here

and this whole area is a little overboard here

so something happened here and I have a feeling

it has to do with the way that this

gizmo

is interpreting the information over here

it's probably based on the

sampling information being way over here

and hence we're getting like this sort of ramp up

so one other thing we can do

I'm sorry

I just have this desire to fix keys so shoot me

is to come in here and maybe do

another key light

let's just try key light instead of relying on the old

try and true IBK gizmo and put this to source again

and this is talk about isolation here right

so I'm going to go ahead and take this key here

and I'm going to go ahead and hold down shift

control and Alt

I'll hit d to disable this so I can see the color

and let's see if I can kind of

click a color that's up here and re enable it

and it looks like it's still doing the same

thing with the

key light it's very interesting

so if we take a look at the original plate

yeah it's very very interesting

now we could come in here with this key light

and click on the

color wheel

hold on Ctrl and click the little color wheel

we can start to adjust the green

see if there's anything

changing like adjust the blue a little bit

yeah that's very interesting

there you go you can see what's going on there

there's a lot of things

that you can play with

you can also try to sample the dark tone

that's being it's in the danger zone here

but if I come in over here and try to click

this is dangerous but let's try to click

like a dark

darker tone there

let's see how that looks

yeah it's hit or miss all right so whatever

so again you can keep doing this

you could actually use a key mix to kind of

bring that and

bring that together

so let's just stick with what we got

and we might crush this value a little bit

maybe it'll kind of

resolve the issues and you can do that by the way

with a grade that's basically based on a mask

so I can do a grade

that's affecting the alpha

again I can do R

for O for Roto

and B for blur

again

I'll put a mask on here

and let's see if we can isolate this area here

and again I could also maybe

drag out with the control button

on extension here

and let's go ahead

layer that up a little bit

and here you can see we can play with the gamma

which is a nice tool

it's not always about just crushing the

crushing the blacks

you can see which does help a little bit

but also playing with the Gam a little bit

so there you go

so a little bit cleaner results

again sometimes it's not going to be perfect

let's go ahead and take a look at our final matte

that's looking good

so let's get to the whole point on what this

tutorial is in

23 minutes later here

and talk about d spill

we have our matte right

we have our matte we have our core

and we have our

fringe matte right there's the two

we're going to actually use the core

as a mask for

the Core d spill

and then the everything else will be the fringe mat or

the edge Base d spill

so let's

go ahead and kind of play with these a little bit

so here we start with the basic image here

and the first thing you want to be aware of when you

look at these images is

you know be aware of things such as

supersaturated colors

be aware of motion blur

especially when it comes to again we're

working off a frame 82 here

but you're going to see as we kind of go through this

when we do this key eventually with our Uber key

that the motion blur is really heavy

and I purposely set up the shutter to be

pretty intense

probably too intense in my opinion

to take

on a lot of motion

blur as he kind of whips his head to the right

pretty dramatically

but you can see all types of things

we got highlights which are usually issues

reflective materials such as this

actual goggles which will be an issue

and all types of little fun stuff

especially in this area here

as we kind of deal with d spill

alright so let's go ahead

I'm going to play with this expression

let's go ahead and plug this in

this is the most popular expression tool

let me go ahead and show you what it does

da da

boom

so you can see what this has done

it has taken out the green be an expression now

keep an eye out for highlights

this is where things can get funky with expressions

again tampering in God's domain

this can cause issues you take out green

in something that is yellow you're going to get

red or orange right

so it's just something to be aware of

this does a pretty good job

but you got to keep an eye on these highlights

again the black magic has terrible dynamic range

the gradients in between

so the expressions are not always enjoyable

and you can

break your color correction when you do this

now what you have done when you've taken

green out is you've actually

taken a piece of

the project's essence in the sense that

green had a part to play in this final

image's luminance value

so what we need to do is we need to

maybe bring that back

so one of the ways you can do that

and again the expression is a good job of

still maintaining the

highlights or the luminance information

except in the real heavy hotspots

so I'm going to show you

we take a merge node

and we are going to do a for here and B for here

and we are going to come in here and choose a

minus operation

so here you can see

what has been taken out of the image

okay and

you know this this is it

basically if I hit wise is the luminance information

that has been lost

and in this case the expression did a good job of

not doing too much to it

but the highlights have been hit

as you can see here

this is the heavy area that's been hit

a little bit on the goggles as you can see

so we can reintroduce that with a merge node

right here

and we're going to add a

saturation node

and I'm going to take the saturation ring down to zero

so if I put that to 0

you can see this is the information

the luminous information

but not without the green hue to it

so if we put this merge note to plus

we are going to merge in that information

let's go ahead and take a look at it

so even though the back chrome got brighter

just ignore the backing region

which is what's behind Jack

but look at the highlight now if I go

from the original green

to the merge node look that we have not

screwed up or broken the color correction

on the actual highlights so you see that

got to keep your eye on this sort of stuff

there's a little bit of change obviously

but in general it's not as dramatic

per se if we

come in here just look at the expression by itself

you can see we're getting these

strange halos around his nose

and up here is a little bit weird

so this information

can be used

this kind of saturation value can be used as a mask

to color create the color

correct the backplate

so I'm going to talk about that in a minute here

so you know if you wanted to you know

let's go ahead and just

we're gonna go ahead and merge this to our

backplate so I'm gonna take a merge

I'm gonna create a constant

and I'm going to take that constant and put its color

to something very very actually will leave it

just make it slightly crimson red like that

okay it's our background plate

so I'll put that B for background

and now for a brief moment we're going to

basically marry together

Elf and RGB

so I'm going to go ahead and make a copy node

and the a is the Elf incoming alpha information

so we're redefining the alpha

and the B is the RGB information so redefining it

if we take a look at the copy node

hit a for alpha

we've basically taken the alpha we created

married it to our actual RGB

and now I'm going to premolt this

get it

and now we've cut it out

now immediately you look at this and you go

crap he's got a white outline on him

oh no what are we going to do

well if we merge that to the background

ooh he's got a Halo around him

now there's ways of combating this

because the big thing you have to

understand this is a rule book

in Hollywood and industries

you never

change the matte edge in comparison to the original

and the reason

being is you can create the keyhole effect where it

seems like his

hair is getting cut away at

or we're looking through a keyhole

and it gives itself away like some cheesy

green screen you know weather map type

you know weather

when you watch the weather on the news

it looks terrible right

the edges are frizzy

and it looks like they got a haircut

with all the little fine

follicles that are sticking out

so if I go back to the original

and I look at here

the matte line hasn't changed thankfully

but the influence of the luminance and the

chrominance or color

it has affected this area here

so there are ways of doing that

and that

one of the ways is color correcting the backing region

which is this area back here

we can actually color correct via this in this quadrant

to cut the actual color of this green here

to match with the best we can

what is the actual

backplate which in this case is this red color

now there are other tools I'm going to show you

where you can use d spill to drive both the

negative and positive values to create

darker and brighter areas based on the actual

backplate image itself

whether it's a sunset or anything like that

to really blend the character in

and but one of the methods you can do is just changing

the backing color

color correcting the backing region

so if this is the

circumstance where we're trying to match into this

crimson dark dark

you know red background

if I hit the letter y

you can see the

chrominance or the luminance is very dark right

come back to here

the backing region is very bright so that's one problem

the other

problem we have is the backing region is desaturated

there is no color back there because we did a d spill

whereas this color is very red right

so with that in mind

we can do a couple of things

to kind of color correct the backing region

one little trick I do and again

the more manipulation you do to your image

the more you're fiddling in God's domain

and by doing so

you're going to have all types of possible artifacts

your audiences might pick up on and go

and it doesn't look right

so I'm going to do a grade node

remember we're color correcting red green

blue information only

and

I'm going to take the outputting information of this

as a mask to color correct this area here

and be aware this is not a black and white mask

the color here over here is like 2.2 you know

so it's going to have a very

low amount of influence

we could color grade this but actually give us problem

so I'm going to go ahead and daisy chain this

so I'm going to go ahead and plug in this is a mask

I'm going to change the mask to the incoming

mask input of rgbr red

because if you look at the santuration node

RG and B are exactly the same

so I only need one of those

so if I go to this grade node now you can see

I can take the gain

and start to bring down the luminance

there I haven't played with the color yet

so if I wanted to I can come into the gain

right and maybe

put some red in there or something like that

just a little bit

and just

add a little bit of maybe point six

and I can daisy chain this

through this process I can copy paste the grade node

you can see we're getting darker

and create another one

we're slowly bringing this value

closer and closer to our backing region

color that we're intended to put this on

I remember working as a compositor

with my good friend

Brad who's worked on a bazillion feature films

just

I mean he's worked at every post house known to man

uh he taught me a ton

and the guy was like saying you know what

because we're all worried about the key and all that

the background is like you know what we

gotta wait till we know what we're putting him behind

it all depends on what

the backing is going to be or what

we're putting behind the actor

that'll determine the

luminance that we have to kind of achieve

now I'm going to show you this process

and you're going to see how it sort of

breaks to a certain degree

so I'm going to go ahead and just

kind of pull this one in

there we go

and now we've kind of matched

pretty close to this red not not crazy

I can continue to take this grade

and again

you know I could keep going and bring the I can

take this grade node and

just do one more here

so you can see why I'm doing this

be like oh my gosh this is crazy

so keep going so now we're finally getting close

to this color let's see how it looks now

still not there yet right

but if I were to disable all these grade nose

look how much more

obvious this is right it's like oh my gosh right

now you can see what's going on here

the hairs are turning yellow

I mean it doesn't make any sense so this is

I'm just showing this because this is an

example of sort of

cheating to a certain degree

because you can try to do this or

key the background or something

and it's just not gonna work

so I'm gonna show you another method here

using the key light

which is an awesome awesome tool

so kind of come over here really quick

and if we take a look at the key light

pull that guy in

if you create a default key light

let me just go ahead and rese this one

create a default key light

it has a screen color set to 000

so let me go ahead and put the input in

and what I can do is immediately just put

one in the value of the second one here

and that does you guessed it a

d spill on the green

once again we have lost luminance information

let's look at the difference between this and the

expression by the way

very similar right

almost close to almost exactly the same actually

see that

that's basically the same thing

but here's the cool thing about the key light though

this is really neat

is the key light allows you

to change the backing region color

by adjusting the screen color

now remember we are getting a key out of this right

but we don't care about the key or just whatever

right this is all about the sort of

pre built

inside key light

default

every time you do a key with key light

it actually does its own basic

d spill

so it has d spill options in here in this case you can

see the alpha bias and the d spill bias

so let's go ahead

and again we're not worried about out pulling a key

we're really just about

trying to play with this background

so if I take this screen color

I can put a value in here to point 01

and I'll come to my blue put a value of point 01

now check this out

this is really cool

I can go ahead and start filling with this

I'll start to bring down the color here

bring that down

you can see it's starting to push towards blue

but if I come over here to the blue

and see we'll start bringing that down

bring this back up

you can see that we can start to manipulate

the image right

to match with the background

you can see if I kind of fiddle with this

I can start to get

a color

now the question is

how is this affecting the skin tones

this is the danger zone you start pulling this stunt

you can have a problem

but the good news is

the really good news

is we're going to only be using this as an edge mat

that for the this is all about worried about the edges

let's go ahead and take a look at it

so here you can see we're getting

pretty heavy dark result here

you'd see the difference in luminance between

one side to the other

so I can kind of look at this and then judge back

to let's go ahead and plug in this to our copy node

so I'll just plug this in like here

let's start to play a little bit

so I'm going to put my merge node here

and look at that

now we are getting darker edges over here because

it is getting the actual d spills actually darkening it

but we're getting a pretty amazing result

right here and if we want to

again we can compare the two

back I'll just grab this expression really quick

and I'll put it right here

and let's just do a quick switch node which helps us

do a comparison

so I put this to switch to 0 to 1 so you can see the

difference here

going to move this over here

and I'm going to switch between the expression

and here

so you can see the Halo

and take a look see the Halo especially over here

it's big time over here

big time

so what you can commonly do

in the whole process is I'll switch back here

obviously went overboard

with the key light so what I can do

is I'll put my viewer to the key light

and then I'll hit one

I'm going to hit No. 1

alphanumera keyboard on the key light

I'm going to put No. 2 to this final merge

and then I'm going to go ahead and do a wipe

like you can see here

so I'm gonna go ahead and just kind of

put a comparison like that right

so now you can see what's going on

so now I can come in here

see the finished product

versus you know what's what

so I'm gonna start

playing around with this a little bit more

pull this back

see if we can kind of bring this back a little bit

there we go

so we still have a little bit of a dark

black edge as you can see

again this is the d spill this is the final result

but it doesn't look too bad right

we don't have those heavy black edges anymore

we can keep fiddling with this

by increasing the luminance value

see how that's starting to match

this is starting to match with this

so we can start to fiddle with this

fiddle with this

be aware as you're doing this though

we're losing a little bit of the green here

you see that

so you can only do so much of this before

something starts adjusting the green itself

you can't overcrank

the green here

okay the green is green

so I can start to pull the green back

you know not the best you want to put this at one

so this is again I talk about you know

tampering in God's domain

right

I'm going to take this blue and

try to bring it back

then I'll drag this in

want to get these values basically back to zero

maybe have a bright red

okay

so a little bit of play

and again if you get too dramatic of

different values here

create all types of issues here

but it's actually holding up pretty good

we still have this kind of green area here

which we can kind of color correct with the hue correct

but you can see it's looking pretty good

it's not looking the great

over here

it's something going on so what can we do to fix that

well what we could do is I'll turn off my emerge here

let's go back to our key light

is we can actually take this and make a copy of it

and we'll do a key mix

let's go ahead and do a key mix here

B&A

plug in the same one

plug in this to the

information here

hit

0 for roto

and I'm going to go ahead and do a color correction

that's different for this side

okay so this is basically exposing the a side right

and combining together

so if I make an adjustment here with this key light

let's go ahead and do that

so you can see this this side stay and put

and now we're adjusting the color to this side

so now our backing region

actually matches this

now in the process of doing this

you have to take a look at your Keymex

go back to the original

have you played with the skin tones

yes we've done a lot of nasty work here but

we're going to put a core matte

of a d spill in the center here

so really we're only worried about the outer edges

so right here

obviously here's where we're bumping into problems

this stuff is getting a little bit too crunchy

or getting black edges

so you can only do so much

and this is where edge extending and using this

very interesting

d spill edge blending technique

will help solve the problem

but if we come back all the way to our

merge now you can see

despite the artifacts that we've created here

which we can kind of fiddle with play with a little bit

you can see the difference

so again I'm going to come over here and do the

switch back and forth

night and day

you see that

it's not perfect

but it's taking care of a lot of the issues

now you're not always going to get a perfectly

universal uniform color in your backplate right

you might have a sunset where it's a bright

sun here and a bluish

horizon over here

so again

I'm going to show you techniques in the future

how you can get away with this

but these are techniques

you can do your best to sort of blend to

whatever you want

you can also try to

use the color of his hair

so for instance if I come in here

here's the key light right

he's got a very this is dark like this is his hair

so dark it's like black

so if you had like a very bright brown here

this would be a little bit easier to do

so if I go back to this key light

in this case all we have is a darkness in this area

right on this edge so again I can go ahead

and darken this to try to match his hair

but you can see what's happening here

we are basically getting

hair that is so dark it's dark dark

just to see if we can kind of do our best to match

the hair color

yeah so it's hit or miss when you get into dark values

I hate to say

but even this brown color here

just kind of play around a little bit you got to like

get used to it there we go

so now we're getting a brown color

for the hair right now I'm darkening it up a little bit

and you might think like oh it doesn't matter

well it does matter big time in luminance information

you can see if I take a look at the original

versus the key light and hit the letter y

see the bright value difference

now we are getting some black edges here

but you can kind of get the idea what I'm talking about

let's go ahead and look at it now

again

dark edges we can probably dial back a little bit here

in this case if we take a look at our key light

you can see we have a pretty heavy value here

say the red

so

and again sometimes you can just look at it

see if it can kind of basically it needs to be darker

take a look here yeah so

yeah it's not

doing the greatest

that's about as close as we can get

but you can see we're introducing a

sort of a granular pattern there

and we're also introducing your red

again any manipulation

is just going to be a nightmare in here

but if you can come close to

bring an illuminance

value and the chrominance value very close to the hair

you can come over here now

and you can see that's done a world difference

now again this is not the best way of doing this

so let's go ahead and move on to hue correct

so even in the midst of doing all this work right

I can come in here and say well because

we've been playing with the red and blue information

we've been reintroduced

some green here right

so I can go ahead and jump over to my hue correct

and you can see the hue correct has taken out the green

completely

so the hue correct is currently set up so that the

green suppression

has basically

brought down

values of green in the brownish tone so I can hold down

shift and control and sample this area

and you can see the line is

telling me this is where the colors at

that needs to be taken out

but if I get

this is the skin tone area which is a danger zone

so you usually don't want to

fiddle with that

because you can see if I take this hue correct

watch what happens

I'm taking green out hence I'm losing the nice orangey

yellow orangey color right

and it's becoming more

you know magenta pink right the highlights that's bad

so commonly with the hue correct in regards this is

usually accompanied by a mask

so I'm going to go ahead and create

another rotomat

obviously blur it

and I'm just gonna isolate this area here

and again I'm going to really blur this baby up

so go like maybe 200

so now you can see

we've taken out this green area

but we've maintained this nice golden orange

reality over here

so this can be something

that

usually has to be tracked or very carefully animated

so you don't see a swimming edge

moving back and forth for the character

but spot checking usually

altogether now Hugh correct can be used by itself alone

but it can start to fiddle with everything universally

so usually masks are companied with the

Hugh correct node

and then of course we have kill spill

so I'm going to go ahead and just show you that really

quick

same go ahead and just come bring this over here

and we'll plug the image in

all

right so take a look at kill spill

so kill spill

is very interesting

is a rather interesting plug in in this sense that

you have what's called suppression

you can hover over these and see what it says

biasing the mix of the channels

used to cap the spill channel

for example

0 equals green channels capped by the red channel

point five

green channels capped by half mix of red and blue

and 1 is green channels capped by the blue channel

so it's sort of a mix between the red

and the blue the limiter

is sort of like an aggression as far as the amount of

actual spill suppressions

you can see you get to a point

right here

you can put it all the way up to 10 or whatever

let's just kind of look at the difference here

you can see you pull it all the way up

and we take a look at it disable re enable

just go ahead and

kind of fiddle with it a little bit

there's a lot of fiddling that goes on with this

it's kind of hard to explain the settings of it

so if we take a look here we can see the green

add some suppression here

and you can see the limiter

as we start to pull this back

we start to get that black and white background

and then the suppression

you got to be careful with this

and then spill tweak actually changes the luminance

so here you can come in and actually change

the background color luminance

which we talked about was pretty cool

we did that in the key light

but in this case

we can actually come in here and start

filling with this

back plate image so I can actually come in here

bring this down

right and try to

in our best efforts try to match that crimson red

again you're not going to get

the best results here

as you can see you can only go so far with it

right

you can see luminance

you can bring it really down if you want

but that's about as far as you're going to get

in the midst of that

so you can see in comparison to the key light

right

a little bit of difference

we're losing some information here in regards to the

green being too much

so that's where we can go back to the keys

the suppression amount here and back it off

so we maintain that highlight

we don't want to lose the gold and oranges

like we talked about

so kill spills great and then of course we have

the wonderful d spill madness

there's many

tutorials online how to use d spill madness

this one is a big industry

people love this guy for some reason

you can see it's a little bit easier

on the edges in regards to the suppression here

and again you can adjust this color

to do your best to kind of match in

so like a brownish hair color here

but again getting it darker is a trickier

it's very tricky

you

can see that right here because the luminance is still

to a certain degree there

you do have this limiter

again we can kind of poke

come back in here and fiddle with this a little bit

so again

there's this big difference here between core d spill

and edge d spill

and we're going to cover that in the next lesson

as we kind of move on