All language subtitles for Nuke 102- CLASS 5- Advanced Keyer- Despill- RGB VS Alpha

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 uh the actual d spill is taking the green

polluted uh light

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

Jack here on the face

and you know

little areas that are really green

like in this reflective goggles here

and also in between little hairs here

um 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 cut out

stencil shape that cuts out the eventual RGB

so these are

taken into account 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 um

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 um

but ultimately be you

you have to be extremely cautious

um not to affect the skin tones

I know when we were doing the Capital

one commercials um

even though Sam Jackson is a relatively dark complexion

we had to be very careful

not to fiddle with his skin tones

through the whole process

it was more about

just being 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

in the other of course

is the original cinematographer

and in our case

that was John Schwartzman

who is going to be the DP

for Star Wars Episode 9

and these big wigs

you do not wanna tick off

so they'll of course

even in the post process

actually meet with a 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

uh you know

the colorist as well as

um ultimately

you know also us

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 gonna be behind Jack here

in the foreground

so d spill has

its greatest hits

we have expressions

these are really great

this is one of the real popular expressions

were talks about

if green is greater than

uh the red and blue combined

divided by 2

or the average then uh

take the uh

red and the blue

divided by 2

that's your green

it's it's it's again

I'm not much of a math guy but anyway

it does take out

the green really

effectively

in this expressions

the most popular

expressions used

um it also maintains the

luminance information pretty well throughout

the process

not completely

but it does do a good job

uh the key light is

even though this is a key

or this can

act as an actual d spell

and I'm gonna go over that um

the hue correct is another one

that kind of spot

get little spot areas

um this is an

extremely difficult key

even though it may look

very simple with Jack

because we're gonna have

all types of issues

with his beard

we're gonna have issues over here

there's all

types of stuff

little edge

things we're gonna 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 on 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 um

again really awesome

and then of course

there's Dspil Madness

which will not

necessarily work unless

you have it

plugged it in installed

it's a little

bit more complicated

Dspil Madness is downloaded

off nukipedia

com those are

the most popular

d spill tools that we use

in the industry

and I'm gonna show you

I'm gonna kind of go through all those

as we kind of move through this

training videos

but I first wanna kind of show

you guys the actual

math that I created with Jack

what I decided upon

say obviously

I did a d noise

and there is no d noise

when you deal with these

the d spill um

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're worried about

the alpha that we're gonna be building

off of the red

green blue so

I used a prime at

see it's pretty clean

if I slam the gamma down

there is no holes in him

and then I went ahead and graded

him up a little bit here

so you can see right here

if I take a look

I just crush

the blacks a little bit

brought the gamma

down a little bit

gamma in in a sense

is gonna play with

the gradient here

it's gonna lock down

your absolute whites

and absolute blacks

but it's gonna

allow you to kind of

I put my viewer to it here

uh kind of adjust

the fall off so

you can kind of create somewhat of a feathering effect

if you wanna 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

cause it's gonna be that

piece of the pie

that fills in

the Swiss cheese holes of her

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 dilate

cause 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

uh you know

that's just what it is

and then the filter road

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

you know this

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 blurt

out a little bit

you know so

what's important to note

if can we come over to

our fringe mat

I went ahead

and I didn't use

the daisy chain

version of the IPK color

cause I found

this actually

gave me a pretty good result

so the IPK color

you can see

it's extremely

eroded right

I had a pretty much

you rode this out pretty

extensively

so let me go ahead

and just 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 rode it very heavily

you can see I'm

roding pretty far to

get outside

the boundaries of Jack's hairs that

are sticking out

and then I just

patch black

the living daylights out of it

and bring it in

so here's my IBK

color with all

the defaults set up

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 uh

we do have transparency here

but that's where

the core mats

gonna 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 met this on

the back of a backplate image

we're not gonna

see this noise visible to

the human eye

when you know

the scenes moving

we're not gonna

see some you know

weird cloud

moving around up here

so just be aware of

the point zero

five or less

is actually

acceptable so

don't always think

your mat has to be

perfectly black

and white um

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

um I did a little

bit of a grade

I commonly do

a grade afterwards

where I grade the alpha

and I grade

the white point to

point nine eight

and you can

see the difference here

I'm gonna 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 nine eight

just a hair

you get something

that is definitely

filling in the holes

a little bit more

right as you

can see here

because we you know

this area here

is gonna be tricky

because it may

not be included in

the final solve

with our actual

um format so

keep that in mind again

you can push this

a little bit more

go to 97 98

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

and pixel value

and those can get in your way

so you don't wanna get too crazy with this okay

because the more you fiddle with the black point

and white point

the more you're hardening up at 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 man 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 compliment

and you can always hit d to disable to see

the difference

I always put the format in the a input

cause if I disable

it defaults to the B

so I can see this is basically without the Cormat

with the Cormat

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 paint work 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 um

I can show you guys how to 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 this

just this area and mask it to this area

and then we'll 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

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 shots

a long shot in the commercial where he's walking and

taking a side step

but it's pretty uh

it was pretty intense

to say the least

and you know

you had to be spot on

you have to be so spot on with the stuff

it's ridiculous um

I didn't realize how spot on until you you know

start to work in the industry go

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 gonna be going back to the original to

see what you lost

you can see in this information

our matline might 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 you know

we filled in this area here

I mean it's it's there

but we have this

area here that's

basically going to be this green patch

so this is where d spills gonna come in

maybe save the day

um so it's reality where you might wanna

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 cameras locked off

the value in this quandrant of this green screen

backer 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 hold down shift control and alt

just so I can resample 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 a bad bad reality so don't

don't freak out when you do this and you're just like

oh so again

commonly with the key that you can come in here

and I usually amp the screen gain up just a hair

maybe like 1:01

you can see how much information we've lost

just by doing that right

if I put this back to one

see that so 1.05

let's go to 1.01 here

there we go

maybe 1.005

look at that

I mean it's pretty intense

the value here oops

the value here

if I go ahead and click out of this

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

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

and don't forget that you wanna also blur this

so hit b blur it

and that'll 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 right

so just extend that out

and we'll just merge this in

so merge this in

put it as screen

which is the

most gentlest way to kind of put stuff in here

here we go let's see the difference

you can see we've kind of gained a little

bit more information um

the key here is again

maybe getting these little holes that we might want

so a core is probably gonna take that away anyway

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

detail just a

just a little bit by the way

but this is a technique you can kind of do

if you feel that they

there's still information missing like let's

let's try this area here

and I'm sorry to kind of push

some kind of staying on fringements

when this is a d spill tutorial

but I always

get anxious when I do this type of stuff

cause I kind of look at how can I improve this

how can I make it better

and you gotta think of every single

scene in here is a painting

you know so you wanna make it look really good

so I'm gonna 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 you take a look at a look

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 then this information has been lost

just a just a hair

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

missing there again

what's the value of this here

oops keep 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 zero one right

so we're still good to go

it still use this

so can we play around with this

well in a 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

see a little bit

let's try some screen man options here

and

nope see you can to a little bit of this

this is 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 that 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 weights with

the weight value

I can start pulling that back

to kind of get that information again

I'm gonna scan this area

you can see it's still

we're still legal point zero two right

so up here we might be getting into danger territory

let's go ahead and see

point zero nine

yeah this is bad news right here

cause we're above point zero five

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 alright

so as long as we stay away from those areas

you can see

you know right here

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

you can see the values

don't they get pretty close

um 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 set to screen

just copy paste

and isolate this here

this is king folks

if you don't like it

then get out of the kitchen

um 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 Lexter camera

as well as infrared based keying

this misery will end one day and we'll be out of work

who are keyers by trade

um 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 um

format 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 mile a little bit

don't just like

I gotta get hurry

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

that's a reflection

but we did manage to catch that little chunk

of flesh or whatever it is

the 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 of the thing we can do

I'm sorry and 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

tried and true IBK gizmo

put this to source again

and this is talk about isolation here right

so I'm gonna go ahead and take this key here

and I'm gonna go ahead and hold down

shift control and Alt

I'll hit the 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

redes reenable 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 control and click the color wheel

we can start to adjust the green

see if there's anything changing

like just a blue little bit yeah

it's very interesting

yeah it's

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

no this is 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

alright so whatever

so again you can keep doing this

you could actually use a key

mix to kind of bring that in 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 um

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

and I can do R

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 and extension here

and let's go ahead

wear that up a little bit

and here you can see we could 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 game a little bit

so there you go

so a little bit cleaner results

again sometimes it's not gonna be perfect

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

that's looking good

so let's get to the whole point

of what this tutorial is in 23 minutes later here

and talk about d spill

we have our mat right

we have our mat

we have our core and we have our

fringe mat right

there's the two

we're gonna actually use the core

as a mask for

the core d spill and then the

everything else will be the fringe mat or the

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 uh image here

and the first thing

you wanna be aware of when you look at these images is

you know be aware of things such as

super saturated colors

be aware of motion blur

especially when it comes to again

we're working off a frame 82 here

but you're gonna 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 um to take

take on a lot of motion blur as he kind of whips

his head to the right pretty dramatically

um but you can see all types of things

we got highlights

which are usually issues

reflective material such as this

actual goggles

which will be an issue um

and all types of little fun stuff

especially in this area here

so we kind of deal

with the spill alright

so let's go ahead

I'm gonna play with this expression

so 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

Tada boom so you can see what this has done

it has taken out the green being expression

now keep an eye out for highlights

this is where things could get funky with expressions

again tampering in God's domain

this can cause issues

you take out green

uh in something that is yellow

you're going to get

red or orange right

um so it's just something to be aware of

this does a pretty good job

but you gotta keep an eye out these highlights

again the black magic has terrible dynamic range um

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 have 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 is 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 gonna go show you and take a merge note

and we're going to do a for here and B for here

and we're 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 y

this is the luminance information that has been lost

and in this case

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

little bit on the goggles as you can see

so we can reintroduce that with a merge node

right here

and we're gonna add a saturation node

and I'm gonna take the saturation rate down to zero

so if I put that to zero

you can see this is the information

the lumens 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

so go and take a look at it

so even though the background got brighter

it just ignore the back backing region

which is what's behind Jack

but look at the highlight now

if I go from the original green to the merge

now look that we have not

screwed up or broken the color correction

on the actual highlights

so you see that

gotta 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 say if we

you know come in here

just look at the expression by itself

you can see we're getting these

strange halos around his nose

and appears a little bit weird um

so this information can be used this

this kind of saturation value can be used as a mask

to color create the color correct the back plate

so I'm gonna talk about that in a minute here

so you know

if you wanted to

you know um

let's go ahead and just

we're gonna go ahead and merge this to our back plate

so I'm gonna take a merge

I'm gonna create a constant

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

something very

very actually we'll leave it

let's make it slightly crimson red like that okay

that's our background plate

so I'll put that B for background

and now for a brief moment

we're gonna basically marry together Elf and RGB

so I'm gonna 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 you take a look at the copy note hit a for Alpha

we've basically taken the alpha we created

married it to our actual RGB

and now I'm going to premult this

look at 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 gonna do

well if we merge that to the background

oh it'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 industry

is you never change

the matte edge in comparison to the original

and the reason being is

you can create the keyhole effect

where seems like his hair is getting cut away at

or he were looking through a keyhole

and it gives itself away like some cheesy

green screen

you know weather map type that you know

whether 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 crominance 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 right back here

we can actually color correct via this

in this quadrant

the 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 gonna show you

where you can use d spill to drive both

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 back with 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 uh

red background

if I hit the letter y

you can see

the chromanins or the luminance is very dark right

I 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 gonna do a grade node

remember we're color correcting red

green blue information only

and I'm gonna 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 point two

point two you know

so it's gonna have a very

low amount of influence

we could color grade this

but actually give us problems

so I'm gonna go ahead and daisy chain this

so I'm gonna go ahead and plug in

this is a mask

I'm gonna change the mask to the incoming mask

input of RGB R red

because if you look at the saturation 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 game right

and maybe you know

put some red in there or something like that right

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 take 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

uh with my good friend Brad

who's worked on a bazillion feature films

um just I mean

he's worked at every posthouse known to Manny

um he taught me a ton

and the guy was like saying

you know what

cause we're all worried about the key

and all that of the background he's like

you know what

we gotta wait till we know what we're

putting him behind

um it all depends on the

what's the what the backing is gonna be or what the

what we're putting behind the actor

that'll determine

the luminance that we have to kind of achieve

now I'm gonna show you this process

you're gonna

see how it sort of breaks to a certain degree

so I'm gonna go ahead and just

kind of pull this one in here 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 great node and you know

just do one more here

so you can see why I'm doing this

I 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 knows

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

uh using the key light

which is an awesome

awesome tool

so kind of pull 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 erase this one

create a default key light

it has a screen color set to 0

0 0 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 um

d spill on the green

and 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 does 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

the sort of

um prebuilt um

inside key light uh default

every time you do a key with key light

it actually does its own base

basic uh d spill

so it has d spill options in here

and this in this case

you can still see

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 or

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

like point zero one

and I'll come to my blue

put a value point zero one

now check this out

this is really cool

and 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 to the blue

and see we'll start bringing that down

bring this back up

I 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

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

um that for the

this is all about worried about the edges right

let's go and take a look at it

so here you can see

we're getting pretty heavy dark result here right

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 just plug this in like here

let's start to play a little bit

so I put my merge node here

and look at that

now we're getting darker edges over here because

it's 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

gonna move this over here

then I'm gonna switch between the expression and here

so you can see the Halo

let's go and take a look

see the Halo

especially over here

that's big time over here big time

so what you can commonly do in the whole process is

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 gonna hit No. 1

alpha numer keyboard on the key light

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

and then I'm gonna go ahead and do a wipe

uh like you can see here

so I'm gonna go ahead and just kind of

put a comparison like that right

so 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

here 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 final result

but it doesn't look too bad right

we don't 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 you can start to fiddle with this

fiddle with this

uh 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 this before something starts

adjusting the the green itself

you can't over crank 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 gonna take this blue and

try to bring it back

and then I'll drag this in

I wanna 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 right

something going on so what can we do to fix that

well what we could do is I'll turn off my merge 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 the information here

it over Roto

and I'm gonna 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 to this key light

let's go ahead and do that

so you can see this this side staying 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 key mix

go back to original

have you played with the skin tones

yes we've done a lot of nasty work here

but we're gonna put a core mat

for 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

we're getting black edges

so you can only do so much

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

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 gonna come over here

and do the switch back and forth

night and day see that

it's not perfect

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

now you're not always gonna get a perfectly

uh 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 gonna 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

and he's got a very

this is dark

like this is his hair so dark

it's like black

so if you had a 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 right

let's see if we can kind of do our best to match

the hair color yeah

so it's it's

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

I hate to say

but even this brown color here

it's gonna play around a little bit

you gotta like get used to 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 all that

you know 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

could see we have a pretty heavy value here

say the red so

again sometimes you can just look at it

see if it can kind of basically needs to be darker

let's take a look here yeah

so yeah it's not 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 a red again

any manipulation

is just gonna be a nightmare in here

but if you can come close to bringing an luminance to

value and the crominance 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 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 this

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 don't usually don't wanna

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 orange

yellow orange 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 gonna go ahead and create another rhodomat

obviously blur it

and I'm just gonna isolate this area here

and again I'm gonna 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

uh altogether

now Hugh correct can be used by itself alone

but it can start to fiddle with everything universally

so usually masks are company with the Hugh correct note

and then of course we have kill spill

so I'm gonna go ahead and just show you that

really quick

so I go ahead and just come bring this over here

and we'll plug the image in

alright so take a look at kill spill

so kill spill is very interesting

is a rather interesting plug in in the sense that um

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 it pulled all the way up

and we take a look at it disable re enable

let's go ahead and

kind of fiddle with it a little bit and it's a little

there's a lot of fiddling that goes out

this is 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

you can see as we start to pull this back

we start to get that black and white background

and then the suppression

gotta be careful with this

then spiltweek 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 backplate image

so I can actually come in here

you can come in here

bring this down

right and try to

in our best efforts

try to match that crimson red again

you're not gonna get the best results here

as you can see

you can only go so far with it right

see luminance

you can bring it really down if you want

but that's about as far as you're gonna get

in the midst of that

so you can see in comparison to the key light right

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 wanna lose the golden oranges

like we talked about

so kill spills great

and then of course we have the wonderful Dspil madness

there's many a tutorials online

how to use Dspil madness

um this one is a big industry

people love this guy for some reason

you can see it's a little bit easier

um 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 like 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 gonna cover that in the next lesson

as we kind of move on