All language subtitles for Nuke 102- CLASS 1- Advanced Keyer_ Introduction

alright so welcome to nuke 1:02

I am sorry that I disappeared there

for a while

I've been a lot of people been asking for this

training video follow up to my first one

since I got a lot of feedback on it

I've been very busy doing the effects supervision

on feature films

and I currently am possibly going to be working for

in the future

hopefully we'll keep our fingers crossed

with Frame Store in Chicago

I was on hold to do a gig

but it fell through the last minute

due to the fact that I don't think they might have had

enough staff to take care of the job

so they move it to their

LA in New York office

so the good news is they're

starting to build up their group there

and we're actually in the works of trying to get

the Foundry user group meet up

which I direct for the Chicagoland area

actually hosted at their studio

so Chicago is really starting to kick butt

um I got a lot of students working

at different studios out here

you got the Wachowskis

uh with their studio

um Kinneworks

and you got the mill

and you got method

and there's just so many different studios

popping up in Chicago

I'm assuming for tax breaks

I'm not sure why

but it's finally starting to become

you know all my life

I've lived in Chicago and

it's always been that island that

people have flown over

from LA to New York

and I'm always like

looking at the planes going back and forth going

is there anybody up there that is

you know from Hollywood that wants to do compositing

where we exist

so it's been pretty cool to see

Hollywood is like outreaching to other areas

like Louisiana

there's a film that I might be the effects supervising

uh out there

and it's just you know

it's starting to expand across the US

and of course

it's moving into Canada

and it's also being outsourced

so I don't know what else to say

and that regards

but for those of you around the world

that have been kind of interested in my first tutorial

I wanna do a tutorial that is the Uber tutorial

I'm talking about

uh super advanced keys that are being used by industry

standard folks

I'm not talking about a

couple of interesting little techniques

I'm not talking about like oh

you might wanna try this one

try that I'm talking about actually

starting with an Uber template

for actually doing

heavy intense

uh keying work

which is a lot of meat potatoes

or compositing

can be a lot of green screen

blue screen work

and um I wanted to have one that is just

takes all the stuff that I have Learned

from all over the place

from people that have worked on Star Wars to um

people have worked in major commercials and

the major commercials that I've worked on um

just to have it all together for you folks to learn

best and easiest way possible

so what I went ahead and did was

I went ahead and shot some stuff um

on the Black Magic 4K camera here

and this stuff is included for free

everything is for free on here to download

um off of my website

obviously we're gonna have and uh

we're gonna involve actual plugins here

that are being used in the industry

because what I see a lot of these tutorials

out there is

are using the default

nuke plugins

which you can strip down to actual

gizmos uh into

a whole bunch of nodes

but sometimes it's just best to use these awesome

gizmos that you get off the Wikipedia and so forth

so obviously those are

I don't own those

so that's one of the reasons

why I'm kind of doing this for free

and I also want you to help me

if you can support the website

so I can continue to punch out more materials

by supporting my actual charged

videos if possible

so with that all said um

let's go ahead and just jump in

and look at some of this footage

this was shot on the Black Magic 4K camera

which is raw

so you can see it's a 4K footage here um

or quasi 4K

whatever you wanna call it

so here you can see

here's my friend Jack

and I'll just go ahead and place

some through some of this footage here

and you can see Jack has

got been foreground lit with

kind of a very bright

cause we have a sun right behind

like a sunset

uh right here

and he's got a little bit of blue lighting

coming in as a fill

so it's a really intense uh

reality we lit

the actual uh

green screen in

the back with

two huge flood lights

and we lit the

foreground with

tungsten lights

so what you have here is a separation between

what is being lit for

the background

which is very flood lighting

and then in

the foreground which is a

sort of a three point light setup

or two point light setup with

sort of like an orange light in

the back into

the left and then

a blue light um

um into the

sort of like frontal lighting

so kind of simulating somewhat of that

kind of reality

when you get twilight

slash sunset

we have like blue in

the shadows

and so forth

so it's not exactly like you know

beginning of sunset

but at the the bottom

end of sunset

so to speak

you'll notice that the

color temperature is a little weird here

you could see this is a

very bright green screen

and the color may

not be correct

so if I go ahead

and hold down

shift and control

and drag out this area here

you can see

the values here

um you know

in the red and

the green here

and the good news about

raw is we can

adjust the color temperature here

so you can see as shot

I was somewhere around 35 hundred

but we're mixing

different types of

tungsten with

fluorescence

and so forth

so it's getting kind of tricky

to kind of balance the sound

and one of the ways you

can do that

is you can kind of

take the footage

and by the way

this should

the exposure is

way too high

so I'm gonna start to crank that down a little bit

you can see

the values here

start to go down in the green

so you can see here

cause I have this sample locked

um this here

the value is kind of going

up and down right

so here we're at 6

and then if I adjust

the temperature

obviously if we

move this direction

things are gonna

get a lot warmer

right so go

and push it

or cooler I

should say um

and then over here

we push this

things are gonna

get warmer so

as you can see

as I kind of push this back and forth

you can see

the balance between the

red and the

blue here changing so again

if I just start

changing this

you can see that we're now adding

some more red

and the blue

so I'm gonna

try to balance these

two out so um

they're equal

so you can see

we have more

red here than blue

so I'm gonna go ahead

and move this

over here a little bit

you can see

now we're taking away blue

and there we go

let me just pull a little bit more

okay so now you can see now we have point three

now it's too bluish and we're gonna pull it back

let's go ahead and just kind of poke around

I can see we're balancing this out

so it's you know we didn't do a chip chart or any card

grayscale card for white balance or anything like that

but again it's just what we did

so I'm gonna go ahead and kind of eyeball this

with the temperature here

try to get these values as close as I can

so it looks like 30 three hundred

is pretty close as you can see

let's go ahead and try 30 two hundred

that's probably about square

yeah let's go to let's go to 30 three hundred

see if that kind of balances out so 1.3 1.53350

let's try that

here we go and that's pretty close

you could see the the red and the blue

again this is averaging the

information is about the same and

the green is pretty low okay

you can see right here

if I go ahead and hit the G channel a G

type in G here

you can see there's the

actual luminance of the actual green

g again here

and I can go ahead and take my exposure

and kind of adjust it

because I'm basically sort of weight balancing

at that case

so you can see I got a value of like point five or 6

so each one of these is different

like for instance

this here is one of my students

Sterling who is

volunteer in time

you can see this is extremely warm

the same thing again

we're gonna have to come in here

and play with the exposure a little bit

and then the temperature

so again I'll put this to maybe 30 200

that's a good starting point

and again I'll just

scrub this area here

and then of course

you have a very limited ability to increase shadows

so we'll get into that in a minute

but let's stick with Stirling here

and again I can just sample this area and look at

the bias between the red and the green channel

that red and the blue channel

I should say

and it's pretty spot on

20 four twenty five

so and then I can take my exposure

and bring it down

and I get a nice point 6.5 value for the green

as you can see here

and if you wanna see how things are gonna key

you can go ahead and preview that by hitting

the actual G key

so the G key is showing the green channel

cause we're gonna be keying green

you can see as we start to bring up the exposure

you know bring down the exposure

you can see how this is starting to look like this

right so it's going to be hard to keep

we want to have that contrast between Sterling

and the background

so you can see if I

take the exposure up and up

and it starts working

you can see

part of his highlights are starting to blend in here

so you can kind of pull this around

as best as you can

you got to be careful though

cause of the luminance values

and you can see it kind of separating

that looks like the best separation there

let's go ahead

and take a look at what it looks like in general

and there you go

so let's go on to the

third shot here

and I love this shot because it's so goofy

I'm gonna put this to input here and scroll back

hit the letter

I hit the letter o

just scrub these guys to the sides

push them until they hit the wall

and I'm just gonna go ahead and hit play

and here you can see

this is one of my students

and she's throwing her hair all over the place

a little over the top

for this whole scenario

you can see how we can have all types of issues

and keying and I try to

make this is the most troublesome shots I can imagine

for the sake for you guys for learning here

so one of the things

is she's actually out of focus a little bit

so we're gonna have to focus

her up a little bit and see she's slightly blurry there

her eyes are really kind of out of focus there

so the same thing again

I can just come in here and scrub this area

and you can see the the biased were a little

bit too much red compared to the blue

so in that case again

I can come here and let's style this in to say 23 again

and okay that's a little bit over the top

I'm gonna start

pulling this up to say thirty five hundred point 3.7

again let's go ahead and dial down as we dial it down

it will get more bluer

33 34 so these are pretty much balanced

and then the green we can go ahead

take the exposure down a little bit

and you can see if I hit the green channel there

you can see that contrast

between the colors there so let's go ahead and kind of

bring this down a little bit

here we go

so now we got that going

let's go ahead and pop over to this other shot here

and this is another example of things where

you're gonna have like messed up issues with shots

and you can see what we have is a flare coming in from

the light that's in the back into the left here

and you're getting this orange flaring in fact

if I zoom up on the image

this is not green at all

this is actually sort of yellow

orange so again

we can come in here and set this to 32 hundred

there we go

and you also have the tint

which can adjust the difference between magenta

and green so if you wanna increase green versus magenta

you can do that

um in this case

we're balancing red

green blue and we can see

that it's looking pretty good

I'm just gonna go ahead

and bring down the exposure a little bit

there we go

the dynamic range in the Black Magic 4K

production camera

which is the older version

um which the dynamic range isn't the greatest

so you can see here

even in this overexposed area

the gradation from the highlights to the shadows

is pretty rough

so to speak

it does give you a very nice image

there is it's a global shutter

so there's no

um issues in regards to rolling shutter

which would be problematic if you're doing tracking

but in general

this is a nice kind of starting point again

I'll look at the averages

point o 7.1

so that tells me that there's a little

bit too much blue in here

let's try 3 300

and now it's a little bit better so yeah

there we go

and finally I have this last shot

it's probably the most complicated shot I'd say

cause it's just all over the place and again

I'm gonna start at 30

200 here and go from there here we go

and again I'm gonna go ahead

and bring the exposure down

cause it was never meant to be exposed

so I love about raw

the ability to kind of play with this now

you as a compositor will most likely get a DPX sequence

you wouldn't be getting

um a DNG sequence

such as basically straight from the camera

editorial will give you a DPX sequence

and will probably have already uh

done their own grading and set up their own LUT

or lookup table

to get the ball rolling

here as you see

we have lots of motion blur

we have some tracking dots up here

lots going on here

so each one of these shots has different challenges

so Jack's challenge

is gonna be these little areas in his hair

through the glass

and then of course in this shot with Sterling

uh this is gonna be an issue

because he's crossing over into tracking points

we have to reconstruct this area

so that's important to know

and here's a shot here with or actress

and you can see this hair is gonna be a nightmare

in regards to what is the best keyer to use

um and again

some motion blur

a little bit of flare going on

and then here is a tracking shot

moving shot across our scene

again motion blur

so a lot of stuff to play with and you

can use this to build up your reel

um I don't have any problem with that

in regards to using this free reel and so forth

so we're gonna go through

in the first step of the process here is

I wanna go over uh

image preparation for keying

I before we even do anything

we have to take the flawed

imperfect reality of what we shot

and get it ready for what we would consider keying

so that's what we're gonna do in the next lesson