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In this clip we're going to take a look at the basic keying template.
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Now this template can be modified and added to as needed
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so it's a really great starting place.
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Now I will note that all the tools in this template
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are really just placeholders.
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So no settings have been changed and they're only placed here
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to recognize where the tools and the order of operations
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should be placed within the script.
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So let's take a closer look.
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So up here we have a placeholder for the original footage.
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Now if you want to preprocess the image or anything like that,
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you're going to put in a read node instead of the constant and
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then here do the preprocessing workflow.
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So for more information on preprocessing,
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please visit the Pluralsight course,
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NUKE Green Screen Keying Fundamentals and take a look at the
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clip on Image Optimization and Preprocessing.
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Next we're going to take a look at the different types of mattes.
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So of course we have the core matte and within the core matte,
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it doesn't really matter what tool you use to pull that core matte.
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So that's very important to keep in mind.
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You can use various different ways to pull this core matte.
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The main thing is that this matte is completely black and white and that is 100%
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opaque in the middle of our image so that we aren't losing any information and
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so that our character object is not transparent.
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Next we want to erode that particular alpha by one or two pixels just
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so that it doesn't interfere with our fringe matte,
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blur it a little bit so that it's well integrated.
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Now let's take a look at the fringe matte.
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So again,
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the fringe matte can be pulled to the keylight or any
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other tool; it doesn't really matter.
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The keylight is just known to pull really great edge detail.
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Some artists really like using the IBK keyer setup as well.
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Here we have an example where we are combining two different fringe mattes.
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You might only have one or more than two and we've used
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the keymix here to isolate the A input.
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So we've made sure that we've retained all of the keying details
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in the A input with a rotoshape and blurring again where the two
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of them are going to be combined, just for the best output.
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From there you can also use a channel merge to
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merge those two elements together.
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Some artists like to use a screen; however,
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a screen will generally place together the RGB and A and
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we're only looking to combine the alpha.
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So this is a really great streamlined way to combine the two elements.
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So we have the combined final matte here.
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Let's take a look at the despill now.
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So we have again a placeholder.
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Replace this with a read node.
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Down here to the despill.
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So I've used an expression and a hue correct.
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Again,
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take a look at earlier modules and clips to see what might be the best
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way for you to despill your image for your composite.
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From the separate despill you're going to copy over that final
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alpha to our despill and premultiply it.
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Once you have that premultiplied image,
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you're going to head up to the background.
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So here's our background image.
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Again, this is a placeholder.
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Please place in a read node here.
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Color correct it as need be.
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Perhaps it needs a defocus or something like that to match the
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foreground image and add a regrain to make sure that we are matching
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the grain from the foreground green screen plate.
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We're sampling it here.
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There are other types of regrain that you can use,
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but this is just the one that we're using in this particular example.
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Now that our background is regrained,
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make sure that we composite it behind our green screen image
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that has been despilled and premultiplied.
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We add our lightwrap.
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So our light wrap is completed over top of both of those images,
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merged over top and outputted with a write node.
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So now that we are finished, this particular clip with the basic keying template,
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let's take a look at a more advanced one that will
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include those tips and tricks.
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