All language subtitles for nuk231-class02

hello and welcome back to nuke 2 3

1 compositing best practices

this is Victor Perez and today

we are going to discuss something very important

when we are applying transformation

which is concartination

the word concartination comes from Latin

and it means to put things on a chain

okay so what does it means

when we are talking about transformations

well let me show you this little graphic

something that is going to be very clear

imagine that this is a pixel in a certain position

when we are applying transformation

we are moving that pixel maybe here

and then another transformation later

is going to put it here

and then another transformation is going to put it here

so at the end

you did three transformations

that we can put together with one single line which is

this arrow so

what we are doing with the first transformation

the second transformation and the third transformation

is exactly the same as this total transformation

which is the d

so why is this relevant

well it's because

every time we are applying a transformation to an image

we are actually destroying the image

and all because of the anti alley icing

so let's have a look at the antialius

in here we have one single pixel in a canvas

so we can transform the pixel as we want

and just to simplify things

I'm just going to use the translation

but this subject of the concarcination

can be applied to any of the controls that are inside

of the transform note

and many other notes that we will see later

so if we move this by 1 pixel

you will see that

of course we are just moving one unit

but what happens when we are moving by

for instance

half a unit

so 0.5 see what's happening

you hear the value of the original pixel

has been drained to another pixel

because if you look at this at a certain distance

yeah it's gonna look like

the pixel is moving slightly less than an actual pixel

but this is a cheat

so every time we are applying this cheating

what is called a filter

the image is losing the actual quality

so if we apply this transform to the Marcy image

you will see that in the original image

the grain is going to be quite constant

while in here

we are applying a kind of blurry effect to that grain

and that is totally normal

is because of the filter

and you know

you cannot avoid the filter

actually thanks to the filter

we can move the image around without having issues

like for instance

imagine that this is the impulse

which means we are going to round the values

but imagine that in this case

instead of using the translation

I'm going to use a checkerboard

and I'm going to put another transformation

but this time

with the impulse

I'm just going to rotate by 1 degree

here you are

so see now I can see the arrows in here

because of the filter here

what is actually doing

is just using an interchange number to place that pixel

so there is no antialius applied to this image

but if we apply here

for instance the cubic

which is the classic filter

you'll see now the power of those values has been

drain from one pixel to another

just to create the feeling

that the image has been rotated

okay so you cannot feel any issues

aside of the normal filter

in that it appears

every time we are translating or transforming an image

okay so this is the issue of the antialias

and we cannot avoid that

we can place it or not

but depending on what we are doing

we are going to use one filter or another

if you want to have more information about the filter

are you ready

publish a course with FXPD

which is painting and reconstruction techniques

with Nuke X

in there I explain quite in depth

all the filters that you feature in milk

okay but right now

we are going to focus just in the issue

of concatination

because concatination is nothing more than

putting all the transformation together

just to create one single calculation

so instead of having one filter kick

and another filter kick

and a third filter kick

for every time you are transforming your image

you are going to have yes

one single filter cake

so your image is going to suffer just once

the issue of the antialius

so now how is the concartination working

well it's kind of a mysterious theme

because there is nothing in milk that is a dancing

when a concartination is working or not

unlike other softwares

like the old time shake

in there there was a graphical representation

for all the notes that were put in the same chain

so in here we need to understand

how the concatenation works

in order to make it happened without any visual aid

so in here I just prepare

a very simple graphic with notes

just to show you when the concartination is happening

um I just put this grade note as a reference

so this grade is going to represent

any operation that you want

okay and actually

the grade is doing nothing

so each transforming here is having a 0.5 in X and in y

for the translation

I'm the same for the second transformation in here

so at the end

he's just moving by one pixel to the right and up

so here if we look at this original pixel

we see clearly there is one value for each RGB

a channel okay

so as soon as I move by

0.5 is distributing equally

depending on the position of this translation

that is using the cubic filter of distribution

okay so in here

I'm applying that 0.5

now this grade is breaking the concatenation

um wise breaking

because if you want your concarcination to work

all the transformations need to be in the same stream

without anything in between them

so in here and in there

as you can see now

what was originally one single pixel

is now an array of 3 by 3 pixels

so it's nothing to do with the original

and if you want to see how this is going to work

with the actual image

let's try to change from there to here

have a look

see the difference from the original

I'm going to deactivate

see it's actually moving by 1 pixel but also

the quality of my image has been totally destroyed

so if you want to preserve the quality of your image

just make sure that there is nothing between your

transformations

okay so in here

for instance

I put the great in the first position

so then my transforms are together

so here you are now

see the original on the final is one pixel

but just that

there is no problems of alias or any other issues

look at the difference between this and that

see the position is the same

but the quality has massively change

okay so you can decide to put

your operations before the chain or after the chain

but never in the middle of the chain okay um

I will explain at the end of the class

a few best practices

for how to group all your transformations

even when you have different operations

that they need to be in between

okay so there are a few work around

so this is the issue of filtering

and how to get the less impact

using the concatenation

so the point is

what notes concartinate

because not all of them are going to concartinate

and not even those that concartinate

concartinate at the same way

so there are three kind of nodes

three groups we can say

and in here

I just put an example

so you have those notes that concartinate

with the note upstream

and with the note downstream

which means he's going to preserve the concatenation

even with the notes that are coming after this note

the best example for this is the transform note

so that's why I put this double arrow

so is getting the concatination upstream and downstream

but there are other notes that only concatinate

upstreams with

means that after this note

the chain is broken

so if you put

for instance

a transform after this lens distortion

even if the transform is going to concatinate upstream

the lens distortion is only concatinating upstream

and not downstream

okay so in here

the concartination stops after the lens distortion

so it's a good idea that every time you have a note

that has this upstream concartination only

you put it at the end of the chain okay

but then there is another group

which is the group of notes that they

simply don't contatinate

so is there any rule to know who is who

well here I'm going to give you a guideline

which is all notes that have this filter

and the motion blur controls

usually are

notes that concutinate upstream and downstream okay

in the other hands

the notes that have only the filter

like in here

but not the motion blur

are going to concacinate

upstring okay

then as you can imagine

other notes that don't have filter or motion blur knobs

they are not going to contatinate

but there are a couple of exceptions to this rule

for the upstream and downstream

are for the upstream only

and those exceptions are in here

so the reformat has no motion blur knobs

why because you cannot animate a reformant

so in this case

the reformat

even if it doesn't allow you to apply the motion blur

is going to preserve

the contamination

upstream and downstream

okay and then

in the other hand

we have the transform mask

that even need you have

the motion broke controls

and the filter

is not going to concartinate downstream

but just upstream okay

they are the only exceptions I can figure in here okay

so another question is going to be in a chain

when I have different filters

what is the filter that

that is going to remain

well if you have

different filters

the filter remaining

is going to be always

the one of the last note

of the chain

okay so in this case

we have Cubic Reef Man

person you know

you can even change and put whatever you want

the only filter apply to everything

is going to be the mutual

the one in here

okay and this is very important

because you don't need to care about the filters

in the other

notes of the chain okay

just look at the last one

and this rule

is happening

only when you are not

applying the motion blur

because when you are applying the motion blur

the rule change

which means

if you put the motion blower at the end

is going to apply the motion blower

to the whole chain

but the filter that you are going to apply

is irrelevant

because the mushroom blur

is having a radian algorithm

to calculate

the antialius

so there is no filter applied

every filter that you are going to apply in here

is going to be ignore

as soon as you put

the motion blur on

at the end of the chain

okay so this is something to keep in consideration

every time we are working with motion blur

so when we are applying much move

or something like that

um now that we are talking about the motion blur

we have to be careful with the motion blur

because we can easily

break the chain

of the concarcination

just by applying randomly

or motion blur

so a good practice for me

when we are applying

a concarcination

with motion blur

is just to forget

the motion blur

in any other

note upstream

the last note of the chain

okay and just

keep working

with the motion blur

and the filters

in case you don't want

the motion blur

just in the last note

of the chain

okay let's see

when the motion blur

is gonna work

and when it doesn't

well in here

I put a few examples

so in this chain

for instance

I don't get

any motion blur

so all my notes

are having the motion blur

in off okay

which is the same

as putting the

this knob in here to 0

so the motion blur

is totally off

then in here

we have the country

on on and on

everything here is

having the motion block

is not necessary

but if you get it

all working together

is the same

here we have

another option

and this is slightly different

in this the first one

has no motion blur

but then the second

and the third half

well in this case

even if it's

not necessary

just to switch

off in here

it can happen

that maybe you have been

working with this

as your last note

and then suddenly

you apply another note

after that well

in that case

if you put in

the last note again

the motion blur on

the whole chain

is going to have

motion blur

here is more or less similar

but is just

keeping those off

and then the last

one on okay

so this is going to be

in all cases

concacinated

but let's have a look at this

other group

which is when

this rule cannot

be applied well

it's basically

when you are

switching on

the motion blur

in the middle of the stream

and not in the last one

okay so and

here we have

the first one

with no motion blur

and then we

are applying

the motion blur in there

and then we are

switching off

the motion blur

in here well

at this point

let me tell you

that your contamination is broken

in here okay

so you are having

two filter cakes

and even you

are getting

motion blur

from one of the chains

and no motion blur

for the other

okay in here

in the second column

we have that

we put the motion

blur in the beginning

and then we

switch off in

the second note

well in this case again

we are breaking

the concarcination

after this motion

blur okay so

we have two groups

the first with one note

and then the other two

that are going to be in a chain

but they are

not going to have motion blur

okay it's going to be

really strange

that you apply

motion blur in

the beginning

and then you move it

without the motion blur

so never apply

this this rule

living aside

that is grown

in terms of filtering

okay and then

we have this third

the third is having

the first two

with the motion blower

and the last

one without

in this case

this is a chain

this is another chain

and is broken here again

is the same

instance as

the previous one

but in this case

the chain is

having more notes

for the motion blur

okay and then

the last one

which is in here

you get the motion blur

and then in here

you get the motion blur again

but then you are

getting just this

to break the

concarcination

so you get this

broken after

this transform

so again just by

switching off

the motion blur in here

in the middle

you are breaking

the concarcination

so pay a lot of attention

my recommendation is

just to switch on

the motion blower

at the very end

of the chain

and let's ignore

any other issue

of the motion blower

evolve the column okay

then let me tell you

that the concartination

is not only working

in the 2D world

is also working in 3D

because milk

can concartinate

all the 3D transformation

that you apply

from the 2D

through the geometry

up to the scan line render

so in this case

what's the filter that we are applying here well

is this one here

is this cubic

so it's going to be applied even to this transform

and to this other transform

and they both are going to be in the same chain

so at the end

you are getting one single filter

kick just for the whole setup

and this is very very good

and keep it in consideration

because if you by any chance apply a grade in here

you just broke everything

so you are getting two filter kicks

one in here

Wanna hear okay

so in this case

just apply the grade before okay

I always recommend to apply the filters

and color corrections above the transformations okay

so it's not only for the cart

it can be applied also for the cube

or the sphere

or the cylinder

all the primitives that you have available in here okay

in case you are getting your mesh from the 3D package

that sadly is not going to concacinate okay

and this is working not only when you are getting

the transformation applied directly to the geometry

is also working

very important for projections

because milk is so powerful in terms of projection

so now in here

you can apply the transformations

through the projection also

so again from this first note to the scanline render

everything is going to be consider one single chain

so at the end

you are getting only one filter kick

for the whole setup okay

then in here we have another case scenario

which is imagine that we are having two images

that are contributing to the texture of this card

so what I did in here is just to apply

a few transformations from the a side

and a few transformations from the B side

and then I'm using this merch material

and let me underline

this is not a merch

is a merch material

because if you apply a merch

something like this and this

that is going to break your chain

while the merch material has the quality of preserve

now through the whole setup

the combination from this side and this side

so each image that is contributing to this texture

of this geometry here

is going to have each

only one filter cake

okay and this is very important

so I leave this note in here

and of course

if you want a list of all the notes that concatinate

here you are

a quick list

yes to show you the notes that are concatinating

and the notes that are not

for instance

the transform is both ways

the card 3D

the camera shake the corner

pink reformat

reconcile 3D tracker

and stabilize

okay so is in this first backdrop

that concacinate upstream and downstream

and let me tell you something

aside of the transformations

there are three nodes that are not breaking the chain

even if you are placing in between the notes

those notes are in here

which is the dot

the no up and the switch

so they are going to preserve

the stream of contamination

even if they are in the middle okay

then we have the notes that are concacinating upstream

which means

after this note

the concarcination is over

okay so the first one

is the transform mask

the spherical transformation

the eye distort

lens distortion

great warp spline

warp s t map

and tile okay

so every time you are using them

place them at the end of the chain okay

um in the case you have two of them

for instance

an I distort and a lens distortion

well in that case

a double kick is gonna happen anyway

but at least

try not to put them in the middle of the chain

with those other nodes

that are concatinating both ways okay

so those should be at the end of the chain

and then you have this group

which is the notes that are not compatinating

anyway crop

mirror planet

Tucker points to 3D

position TVI scale

adjust the box

and black outside

okay so in case you have these notes

just make sure that you put it before the chain

or after the chain

never in the middle

let me show you what happens in here

with your concarcination

when you are applying different images

like in here

and you are moving across

so imagine that in this case

I'm applying a transformation in here

another transformation in here

then I'm putting both together

and then because I want to move both

I'm going to apply another transformation

and then I'm going to add another element to the stream

and then everything together is going to be transformed

well this is wrong

in here we are applying to each image

in here a few

several filter geeks

the most affected are going to be the true

in the beginning of my tree

so here you have a filter kick

then another

then another

because the merch

he's breaking the concatenation

so every time you get a merge

you need to figure out how to bypass that merge

to put all your transformations together

so in this case

I just translate this to a good practice

of concacinating all the transformations

even when they are across other match

so in here what I did is

the first transformation

the a transformation for the circle is in there

the B for the square is in there

and those are now telling me where

my concacination should start

so now the second one

see the one that was after the merge

what is actually doing

is transforming the image from the B side

and the image from the a side of the merge

so what I'm going to do is

I'm going to take this transform

and place it in here

so I'm going to do it here

so I'm going to extract

putting here and now

because I want the same transformation

you can either copy this and put it here

or maybe using a clone

so I'm going to clone in this case

because in case I change something to one note

is going to change the same to the other

here you are

and now the same is going to be

apply to these other transform

this transform is moving every element

so I'm going to take this transform

and put it to each element

remember that the order of transformations is important

so as this C note was in here

I'm not going to put it above the first transformation

I'm going to put it right after

the first transformation

okay so the same for this order

so I copy I place it here

and then Alt K

for cloning an Alt K

so now in here

is going to be everything

with only one single filter kick

okay so this is the setup I prepare here

so let's have a look at the difference between before

when this is in here

have a look at the quality of my image

and then with the right way

with every note in here

doing the right concarcination

so here you are

see some elements are not going to be that visible

some others are going to be quite evident

see for instance in here

so think about it

every time we are applying a transformation to an image

we are actually decreasing quality of that image

even if we are applying a filter

just to make the quality lost less evident

or just to mask it with other things

but at the end of the day

any transformation is going to destroy the image

so try at least to destroy as less as possible

so then when you have to recover that quality

you just need to recover way less than applying

your transformation just randomly across your script

okay and another case scenario

is gonna happen when we are applying a painting

okay so imagine in this same

imagine that I want to remove my markers

by applying a very simple stabilize

a much more warflow for painting

so this is my image

so what I'm going to do is to stabilise okay

so I stabilise this marker

so now I can paint on that

just using or frames or our range of frames

so I'm going to apply that

see

is now fake

so I'm applying my painting normally

you can have a look in here

it's nothing special

and then what I'm applying is of course a much move

so what I was stabilizing before now is much move

yes to keep the movement exactly as in the beginning

okay in theory that's correct

but if we have a close look to the image

in terms of grain

for instance

have a look at this

if I deactivate that see

um yeah I'm losing quality

you can argue that of course

we can just apply the patch for the area of interest

yeah why not

but even the area of interest is going to have that

issue of the antialius

so I think it's way better

that we apply another warflow

because when we are applying a second stabilizer

much more setup

that is going to be really

really messy

so imagine doing that for all markers in the face

at the end of the day

the image is going to be completely destroyed

even if you put it in parallel

and you get just for one marker

1 stabilize a much move

you are applying an unnecessary filter

because another way of doing that

is just to track that point

that we want to apply for the painting

and then we are going to apply that

tracking information

do one of the folders in here

so let me do it for you

so what I'm going to do is I'm going to apply

for instance

this tracking information

that is tracking that marker

inside one of the folders inside my rotopaint

so I'm going to create a folder a layer

and now I'm going to transform

I'm going to copy the animation

you can either copy the animation

or copying the links is exactly the same

the only difference is of course

if your knobs are linked

every time you are changing

the master trucker

that is going to change also the rotor paint

so honestly

I prefer to copy the animation

because when you are painting

you are actually fixing

any problems or issues that you have for the tracking

okay so copy animation

and here I'm going to select the layer

the folder in here

and now I'm going to the transform top

okay so now what you need to do

is just to copy all the transformations

that you are applying on your tracker

to each knob in here

that you have actually the same knobs

so I'm going to paste absolute

because if you paste relative

the key frames that you already copy

are going to start from the frame

you are at this very moment in the timeline

so my first frame

he's going to be at frame 21

okay so if you do it absolute

the frame one is going to be at frame one

the frame two at frame two

and so on okay

so prolly you always want to put the absolute

except of some effects

so let's place the absolute

okay and the same with the others

in the case of a single translation

honestly you don't need the center

the center is necessary when you are applying

rotation and scale

but the translation is actually irrelevant

where is starting

okay so in this case

I'm going to copy

for the sake of doing things the right way

but remember it's not necessary

okay so you have now there your position

so now if I apply now

any kind of painting that is lasting for all frames

that stroke is going to move together with the marker

because he's inside this layer

so everything inside is going to move

whatever is outside or in another layer

is not going to move

and I mean another layer outside this layer

because you can put layers within layers

okay so here

just going to do it very quickly

here you are

okay so now as you can see

that pain stroke is moving with the marker

another thing to keep in consideration

when we are applying a clone stroke

is that the source and the destination

of my paint brush

is actually having a translation between them

but the translation between the source

and the destination

the actual brush

is in a integen number

which means you are not generating any antialias

when you are painting

that is because we are rounding

the position of the source and the destination

in terms of the amount of pixels in the translation

is like having the impulse filter in the translation

between the region and the destination

that is called round to pixel

and you can find it in here

this round is preventing you to apply any stroke

that is having to add an extra layer of antialias

and that is very good

but if you remove that

probably you are going to add anti alias

to the cloning stamp

see now the pattern is looking kind of soft

if I reapply the round now see

the pattern is going to look again quite sharp

because at least

what you are painting is not having that Antilias issue

the problem in here is

because we are using a soft brush

the edges are going to mix the grain from one place

to another place

so see at the end

you are getting soft grain

which is not correct

so for that

you are going to need to apply extra layers of grain

probably using a solidization or a fringe

which is just to be applied

within the area of softening

between the cloning and the original image

okay so all of that is to keeping consideration

when you are applying anti alias and softening

and other issues that can affect

the quality of your image

so I'm going to delete this roto paint

and if you want to have a look

I'm going to give you for this class

this is script

so you can analyze what I did

for every single example that you have in here

okay so the issue of concartination

this is something to keep in mind when you are working

and also to check every time you finish a composition

just to understand if

is there any technical issue that I'm applying

because of my contamination

has not been respected

or is the contamination working

or wise not working

or the motion blur

or any other issues that can appear

due to lack of quality

so that's all for this week

if you have any comments

questions or suggestions

you are very welcome to post them in the forums

until next class

this has been Victor Perez for FX PhD

thanks for watching