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good morning
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how's everyone doing
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uh this is Charles Le Page here
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and I'm gonna be picking up where Jeremy left off
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uh from the Class 5 script
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so uh we'll go ahead and open that
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okay so we'll poke around here and uh
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and see what we have and and what we gotta work with
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uh by the looks of things
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he set up a projection for us
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he's left us a nice handy little note in here
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it's always helpful
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um especially when
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we get to setting up our camera and everything later
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uh our resolution
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so we'll check our project settings alright
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looks like you did a pretty good job setting
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all this stuff up
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um now when I get a script from someone
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uh first of all we wanna look at what we have to do
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we've got our read note and uh
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it's a still to life class
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so we're gonna be putting some life into this
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still here um
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so I'm gonna take a look at the uh
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the scene in 3D that he's given us and see what we have
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and don't have here
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increase my number from two here to
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probably 10
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uh just so we can
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fit everything in there
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um I like to do this just to make sure I have
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all the right pieces and um
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corresponding geometry
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so click on that
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that looks like see
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zoom in here
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and here we got leaf too
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looks like a leaf
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looks like a leaf
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uh snow hmm
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looks like we got something but it's under this ball
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so let's carry along and see what else we got stem
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ice chunk ice chunk
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flower okay
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so our snow is under our flower here
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and card I presume is the background okay
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so let's take a look
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and see what happens if we disconnect this flower
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open up our scene again
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and snow so just from looking at this
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I'm gonna guess that
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the snow is meant to go on top of the flower
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plug that flower in again and see
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and here we have our flower over the top um
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we could either shrink this a nuke or
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or send it back to Jeremy and and see
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see what what he was thinking with this one
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or we can simply just replace it with a uh
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with a nuke sphere so
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uh we'll just go ahead and do that since he's probably
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busy with something at this point
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and it's not the end of the world whoops
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so take a look and see where that guy came in
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okay
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open up the rest of our scene
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disconnect that flower there
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and we're gonna probably wanna scale this guy up to
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maybe
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3.5
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um bring it down and
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just to make sure this is gonna be in the right place
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we'll take a look at our scanline renderer
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oh yish
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okay I guess I didn't finish looking at my scene
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we got the projection cam here
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which is from a file
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and our camera down here which is not from a file
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so this must be a standard nuke camera
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with a z of 11 so
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let's take a quick look through our projection camera
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and see how our flower Sierra is doing
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plug it in there
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connected to our scene
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and now okay
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so not quite big enough so we wanna lower him
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maybe make him a little bit bigger
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it's a little hard to tell
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because we got the projection of the card behind
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so we always disconnect that
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and then we can
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see a little bit more of what's going on
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okay great that should do it
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so before we had one that
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was just a little bit too big with the snow on top
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and now we've
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replaced it with a local nuke sphere
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plug our card back in
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and look at that
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now we can see what we need to work with
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so if we take a look at this scene
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we gotta decide what we wanna do to it
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we don't wanna add a camera move of some sort
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and then uh maybe little bits of flare here and there
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and perhaps a Z blur of some sort um
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so we're gonna go back into the 3D environment
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and take a look at uh
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how we're gonna accomplish that
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uh we got some nice projections set up here
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uh if we wanna just move the camera
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around the projections um
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wanna go back to our normal camera here now
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if we wanna just move our camera around the projections
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we can do that freely without causing any damage uh
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however if we wanna move the geometry
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and just put a
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transform Geo node down here
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and move everything
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say left or right
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you can see that
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our textures just slide around on the geometry there
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so we really
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before we get too deep into this
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we wanna figure out exactly what we wanna do
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so that we can put it together properly
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if we're just gonna move the camera uh
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we'll save some time
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the projections are already done
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and we can just move right along from here
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if we feel like we might need to
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move or adjust the geometry in any way
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uh we'll have to look at an alternate way of doing it
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but for now we're gonna stick with the uh
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move the camera around the object method
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and we can always go back and adjust from there
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alright so we checked all our work
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all our 3D objects make sense in 3D space here
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um so now we
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we should move on to
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seeing how we
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should split up this image into what pieces we need
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we've got the geometry that Jeremy's
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labelled pretty well uh
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which helps us
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decide what to break
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break pieces of the image down into um
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and in order to see what we need to paint
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we're we're gonna come up with a little
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bit of a camera move here uh
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and then start generating some clean plates and pieces
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and finish the shut up
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so we've got
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the standard nuke camera here
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uh that we brought in
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which is obviously too
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too close and
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we can spend some time setting this up
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uh with the specs that Jeremy gave us
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or uh we could simply take
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the projection camera
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copy and paste that
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and we've got a camera that
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uh 9 lines up nicely with all the specs
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and uh we can start our animation from there
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uh we'll animate uh
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an access node
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and attach our camera to that
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uh so that way when we make any adjustments here
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uh if we don't like them
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we haven't ruined the camera
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uh that's a good method to use if you've gotten
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an animated camera or something like that
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you need to reposition it um
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and it's easy to go back without
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having to start all over again
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so we can go into 3D space and look at what what camera
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we want to change the name of that camera from
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proj cam to scene cam first
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before we forget keep everything nice and organized
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and take a look at our axis
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and we got to remember that we're rotating from
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the axis point
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so 0 0 here instead of actually the camera
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which is also nice
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in this case cause the camera is looking at 0 0 there
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if you wanna look through this camera in 3D space
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uh you can come up here to this camera button there
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uh click it
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make sure it's red
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then from your drop down menu turn
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turn it to scenecam
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or projcam or whatever camera you wanna look through
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and then you can have an idea of what you're doing in
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in 3D space we'll go to frame one
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and set a keyframe at 0 0
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and then we'll come down to
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frame 100
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hold down the command key
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or the control key to bring up this rotate in 3D
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and maybe we can
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come up with a nice little
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rotation here and maybe round out these numbers
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so just whoops 50
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that'll be a tough one to pull off
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negative 5 and let's say five
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okay
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there we go we got a nice little camera move there
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and maybe we can get a little bit more out of it
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on this end
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yeah look at that beautiful okay
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check that through our scan line renderer
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and see what problems we've created for ourself
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well the good news is that the projection will work
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and the bad news is we gotta do
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a lot of paint work now okay
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since Jeremy's kindly labelled all this geometry for us
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and we've got a good idea of where to start
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um we're gonna go through here and make sure
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we line all the right pieces up uh
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and start separating them accordingly
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so leaf 2 it looks like could be this guy here
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so we'll start by retowing that out and
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doing any paint we need to
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so a retow node
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take a look down here
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and grab our friend the Bezier or Beastline
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whichever you prefer
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yeah
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start rattling the night away
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and once we have our shape finished
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wanna check back down here
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and make sure we're getting something out of that
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we are great
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looking through the space and
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see what it looks like on the geometry
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we haven't quite covered everything up
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but press the F key to focus on
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that particular piece of geometry
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and we're getting somewhere
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so back to Roto
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and that'll that'll do for now so to premult
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so that we don't get the rest of that
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through our projection oops
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enable that guy and
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output alpha
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there we are
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and we can paint this top leaf away if we feel like it
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with a paint node
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and this is one thing I really like about projections
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uh you just left with the 2D image there oops
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bad place to start
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and you can pretty much use nuke all the way up until
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you plug it into the Projection Node um
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and that works also if you're
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if you've been setting up UVs and things like that uh
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you can use all the 2D functionality of nuke
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right before your image goes on to the geometry
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oops went a little far with that
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there we go that'll do maybe
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oops blurred together a little here
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perfect okay
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and leaf one is out of the way we can maybe feather
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feather this one on the inside a little bit
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give us a nice soft
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edge when we look through a projection
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and carry on with the next one
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alright so just to spare you some boredom
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I went through and uh
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and wrote it a few more shapes out uh
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I oop turn that overlay back on
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I did this did the second leaf
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uh with the the same method as the first one uh
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I didn't need to do any paint though
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uh premulted it
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then I went over
276
00:14:47,000 --> 00:14:50,866
and I did the other simple shapes as well like the stem
277
00:14:51,366 --> 00:14:52,500
premult that
278
00:14:53,600 --> 00:14:56,300
and the ice chunk premult that
279
00:14:57,700 --> 00:14:59,800
uh and I just wanted to talk a little
280
00:14:59,800 --> 00:15:01,200
bit before we move on
281
00:15:01,533 --> 00:15:05,000
uh about how to split up this snow and flower
282
00:15:05,066 --> 00:15:06,666
cause as we get into the snow
283
00:15:06,666 --> 00:15:08,433
it's not quite as easy as
284
00:15:08,700 --> 00:15:09,733
uh those simple shapes
285
00:15:09,733 --> 00:15:11,900
like the stem and a couple of those leaves
286
00:15:11,900 --> 00:15:13,800
so we'll take a look at Jeremy's Geo
287
00:15:13,800 --> 00:15:15,500
and see what he did for the snow
288
00:15:19,566 --> 00:15:20,433
okay
289
00:15:26,333 --> 00:15:28,100
so we've got room to work here
290
00:15:28,100 --> 00:15:31,000
uh you can see that um
291
00:15:31,766 --> 00:15:33,866
that we've got enough to
292
00:15:33,866 --> 00:15:36,900
to sort of cut out a nice shape of all the solid snow
293
00:15:36,900 --> 00:15:39,300
and we'll leave some of it on on the flower
294
00:15:39,366 --> 00:15:41,833
so I'll try follow this line here
295
00:15:42,200 --> 00:15:47,166
um through there up on the flower and uh
296
00:15:47,500 --> 00:15:49,533
put that over the top and see how that works
297
00:15:49,533 --> 00:15:55,366
so we'll start by just a nice basic shape to test it
298
00:15:58,166 --> 00:16:00,900
go down here to the ellipse tool
299
00:16:14,333 --> 00:16:16,466
get that nice fat bit of snow on there
300
00:16:31,733 --> 00:16:35,866
and we'll throw a premode under there and just see
301
00:16:37,166 --> 00:16:41,366
what that looks like through our skin line render
302
00:16:43,500 --> 00:16:45,600
and I forgot turn off the alpha again
303
00:16:45,866 --> 00:16:48,700
oh and I put the pre modes in the wrong place
304
00:16:50,000 --> 00:16:51,366
control shift X
305
00:16:51,666 --> 00:16:54,266
pops that node right out of the node graph
306
00:17:03,766 --> 00:17:07,100
and it's good to see to check that out in in the RGBA
307
00:17:07,366 --> 00:17:08,166
stage as well
308
00:17:08,166 --> 00:17:10,366
make sure you're getting everything on that projection
309
00:17:10,366 --> 00:17:14,033
uh from your shape we are uh such good news
310
00:17:14,466 --> 00:17:17,266
uh turn that back to alpha
311
00:17:22,766 --> 00:17:25,100
and go through and start adding more points
312
00:17:27,300 --> 00:17:29,666
so you wanna be pretty articulate with this
313
00:17:32,966 --> 00:17:35,400
uh remember you can always go back
314
00:17:35,400 --> 00:17:39,166
so no need to go overboard but uh
315
00:17:39,600 --> 00:17:40,666
since we're making
316
00:17:40,766 --> 00:17:44,033
a pretty decent sized camera move on a still image
317
00:17:44,333 --> 00:17:47,300
you're gonna wanna be careful with the points you add
318
00:17:49,700 --> 00:17:51,900
uh just so you don't pick up any of that
319
00:17:53,100 --> 00:17:55,366
excess background that you would know
320
00:17:55,400 --> 00:17:58,733
would be noticeable once the camera was in motion um
321
00:17:58,733 --> 00:18:01,333
the white areas obviously are are not as noticeable as
322
00:18:01,333 --> 00:18:04,000
as say the green areas or something like that
323
00:18:04,133 --> 00:18:07,000
so keep that in mind while you're redoing the shape out
324
00:18:07,400 --> 00:18:12,100
and I will carry on with this one and see you
325
00:18:12,900 --> 00:18:13,966
on the other side
326
00:18:16,666 --> 00:18:17,833
and there we have it
327
00:18:18,166 --> 00:18:21,400
the snow roto um
328
00:18:21,933 --> 00:18:24,366
we're gonna need to go back and do some paint on this
329
00:18:24,366 --> 00:18:26,000
but before we do um
330
00:18:26,000 --> 00:18:28,933
I'm gonna move on to rotoing the flower uh
331
00:18:28,933 --> 00:18:30,933
before I start rotting the flower
332
00:18:30,933 --> 00:18:33,666
I wanna take a couple things into consideration uh
333
00:18:33,666 --> 00:18:37,100
one is maybe what do I need to paint uh
334
00:18:37,866 --> 00:18:39,800
because we have some leaves on top of our flower here
335
00:18:39,800 --> 00:18:42,700
I don't want to end up retowing those in on accident
336
00:18:42,700 --> 00:18:43,733
so in this case
337
00:18:43,733 --> 00:18:45,400
I'll paint beforehand
338
00:18:45,700 --> 00:18:49,600
I didn't on this one because the stems sticks out
339
00:18:49,733 --> 00:18:52,266
so we can see if we're even gonna need to paint it
340
00:18:52,266 --> 00:18:56,566
and it it's not a very confusing part um
341
00:18:56,566 --> 00:18:59,033
it doesn't blend in too well with the rest of the snow
342
00:18:59,566 --> 00:19:01,166
um but down here we
343
00:19:01,166 --> 00:19:02,733
we did the roto earlier
344
00:19:02,733 --> 00:19:05,266
uh from these two leaves
345
00:19:05,266 --> 00:19:07,766
so I'm gonna wanna paint those out and uh
346
00:19:07,766 --> 00:19:08,666
come up with
347
00:19:09,300 --> 00:19:11,500
uh a back frame so that when this rotates
348
00:19:11,500 --> 00:19:14,500
you don't see these leaves appear twice also uh
349
00:19:14,500 --> 00:19:16,433
I wanna see where I need to roto
350
00:19:16,666 --> 00:19:18,966
I'll need to include all the
351
00:19:19,100 --> 00:19:20,666
the obvious brown parts
352
00:19:20,666 --> 00:19:21,566
and then I'm gonna wanna
353
00:19:21,566 --> 00:19:23,500
extend my roto up a little bit more
354
00:19:23,600 --> 00:19:24,533
uh into the
355
00:19:24,533 --> 00:19:25,866
in and behind the snow
356
00:19:25,866 --> 00:19:27,966
just to make sure we have enough coverage uh
357
00:19:28,366 --> 00:19:31,133
when we when we do our camera move uh
358
00:19:31,133 --> 00:19:32,700
and don't run into any
359
00:19:32,700 --> 00:19:35,000
any other funky areas
360
00:19:35,733 --> 00:19:39,600
okay so now we can go ahead and start painting um
361
00:19:39,766 --> 00:19:41,633
bringing a roto paint note here
362
00:19:44,266 --> 00:19:49,833
and paint out the things that we don't want uh
363
00:19:50,066 --> 00:19:52,600
first of all I'm gonna cover up this guy with this leaf
364
00:19:52,600 --> 00:19:55,066
uh so I don't paint it out first
365
00:19:56,533 --> 00:19:57,400
let's see
366
00:20:01,766 --> 00:20:03,566
grab our friend the clone tool
367
00:20:07,366 --> 00:20:12,733
and just start climbing in some of these areas oh
368
00:20:12,733 --> 00:20:15,566
look at my paint node see what I'm doing
369
00:20:17,733 --> 00:20:20,433
and this one's gonna be covered up mostly oops
370
00:20:21,300 --> 00:20:22,733
mostly by that other leaf
371
00:20:22,733 --> 00:20:27,400
so we don't need to be too precise with it
372
00:20:29,533 --> 00:20:31,100
but it just helps to
373
00:20:33,200 --> 00:20:35,666
change that form behind
374
00:20:35,700 --> 00:20:36,500
behind the roto
375
00:20:36,500 --> 00:20:39,900
and geometry that we've added in there um
376
00:20:45,866 --> 00:20:48,233
oh yeah what
377
00:20:55,400 --> 00:20:58,100
and we'll just clean this guy up around the edges
378
00:21:06,200 --> 00:21:08,166
perhaps blur it together a little bit
379
00:21:22,366 --> 00:21:23,900
just get something nice and fancy
380
00:21:23,900 --> 00:21:26,000
we could probably leave this middle bit here and uh
381
00:21:26,000 --> 00:21:28,733
we won't notice it too much or uh
382
00:21:28,733 --> 00:21:33,033
we can go ahead and clone this guy down to help us
383
00:21:33,866 --> 00:21:35,200
break up this area
384
00:21:53,900 --> 00:21:57,766
and give us our new shape to our leaf there
385
00:22:00,800 --> 00:22:01,600
oops
386
00:22:24,933 --> 00:22:26,233
I don't know why
387
00:22:31,066 --> 00:22:32,466
just have some fun with the paint
388
00:22:32,466 --> 00:22:34,566
like I said before in the paint tutorial
389
00:22:38,566 --> 00:22:41,100
flex your muscle and make it look good
390
00:22:45,733 --> 00:22:48,266
alright and keep in mind you're rotoing this too
391
00:22:48,266 --> 00:22:50,000
so you have a little bit of room to make
392
00:22:50,000 --> 00:22:51,366
the shape up there as well
393
00:22:51,366 --> 00:22:54,000
uh we'll paint out this bad boy here
394
00:22:54,000 --> 00:22:55,966
so we don't include him in our roto
395
00:23:04,266 --> 00:23:04,966
it looks like we're
396
00:23:04,966 --> 00:23:06,400
getting something we could work with
397
00:23:10,466 --> 00:23:11,966
smooth over that edge
398
00:23:14,166 --> 00:23:15,100
a little bit
399
00:23:15,100 --> 00:23:17,700
and we'll paint this guy out just for the heck of it
400
00:23:23,966 --> 00:23:27,866
okay so that'll do for now and uh
401
00:23:27,866 --> 00:23:29,066
in terms of paint uh
402
00:23:29,066 --> 00:23:33,400
we can do additional paint work when we're done as well
403
00:23:34,000 --> 00:23:34,966
after we wrote oh
404
00:23:34,966 --> 00:23:35,733
so I'm gonna
405
00:23:35,733 --> 00:23:37,866
like I said before
406
00:23:37,933 --> 00:23:39,366
read all the flower that I can
407
00:23:39,366 --> 00:23:40,700
and then get a little bit of overlap
408
00:23:40,700 --> 00:23:43,233
just to help us with our camera move just in case
409
00:23:44,733 --> 00:23:45,566
so I'm just gonna start
410
00:23:45,566 --> 00:23:47,466
red on this flower at the bottom here
411
00:23:48,566 --> 00:23:51,433
I won't make your eyes bleed by watching me do this
412
00:23:52,333 --> 00:23:54,733
so I'll let you guys do this on your own time
413
00:23:54,733 --> 00:23:56,466
put on some good music
414
00:24:00,000 --> 00:24:02,166
and just rotted the flowers away
415
00:24:02,166 --> 00:24:03,900
and then we'll check back in
416
00:24:03,900 --> 00:24:05,100
see what other paint we need to do
417
00:24:05,100 --> 00:24:08,000
and then start fantifying this this comp
418
00:24:12,400 --> 00:24:13,833
all right we're back
419
00:24:14,000 --> 00:24:16,766
and the road is finished magic
420
00:24:17,133 --> 00:24:19,066
I changed my shape color to black
421
00:24:19,066 --> 00:24:20,966
just because I was having a little bit of trouble
422
00:24:21,166 --> 00:24:23,166
seeing it on that white surface
423
00:24:23,966 --> 00:24:25,800
I also wanted to point out that
424
00:24:26,066 --> 00:24:28,833
when I work with big image sizes like this
425
00:24:29,500 --> 00:24:31,033
typically use proxy mode
426
00:24:31,266 --> 00:24:32,900
um which I have up here
427
00:24:33,100 --> 00:24:35,500
that is set in your project settings
428
00:24:35,500 --> 00:24:36,400
down here at the bottom
429
00:24:36,400 --> 00:24:37,700
you have a proxy mode that you
430
00:24:37,700 --> 00:24:39,800
can turn to scale format
431
00:24:39,800 --> 00:24:41,600
whatever you choose uh
432
00:24:41,600 --> 00:24:43,733
point five scale usually works uh
433
00:24:43,733 --> 00:24:44,766
just to give me that
434
00:24:44,766 --> 00:24:47,100
little bit of extra performance that I need
435
00:24:47,333 --> 00:24:49,200
so whenever I'm working
436
00:24:49,966 --> 00:24:51,900
with 4K plates or something like that
437
00:24:51,900 --> 00:24:53,300
I'll I'll use that for working
438
00:24:53,300 --> 00:24:55,366
and then when I need to see it in full detail
439
00:24:55,366 --> 00:24:57,800
turn it off or before render
440
00:24:57,933 --> 00:24:59,166
turn it off as well
441
00:25:00,466 --> 00:25:01,200
and we'll look out
442
00:25:01,200 --> 00:25:03,466
for anything else that could be of concern
443
00:25:04,533 --> 00:25:08,300
uh believe I have probably animation on this
444
00:25:08,300 --> 00:25:09,700
nope I don't good
445
00:25:10,900 --> 00:25:12,566
so we're picking up something
446
00:25:13,866 --> 00:25:14,900
from somewhere else
447
00:25:14,900 --> 00:25:16,933
so we'll have to figure out where this double edging is
448
00:25:16,933 --> 00:25:17,866
coming from
449
00:25:20,000 --> 00:25:21,233
uh
450
00:25:23,133 --> 00:25:24,333
we'll start with the snow
451
00:25:24,333 --> 00:25:25,466
that makes sense
452
00:25:26,666 --> 00:25:29,300
okay so we're gonna go into 3D space and take a look
453
00:25:29,300 --> 00:25:31,300
at where that edging might be coming from
454
00:25:32,100 --> 00:25:34,066
and just as I suspected
455
00:25:34,733 --> 00:25:37,233
in our Project 3D node
456
00:25:38,566 --> 00:25:43,600
uh you have both front or back if we turn that to front
457
00:25:43,966 --> 00:25:46,266
and then take another look at our scanline render
458
00:25:48,766 --> 00:25:50,600
uh nicely nicely done
459
00:25:50,600 --> 00:25:51,800
gets rid of that edge
460
00:25:51,866 --> 00:25:53,400
uh it'll project on both sides
461
00:25:53,400 --> 00:25:54,900
and since that jam true is angled
462
00:25:54,900 --> 00:25:56,933
that gives us an edge that we weren't
463
00:25:56,933 --> 00:25:58,166
weren't hoping for
464
00:25:58,266 --> 00:26:01,666
so and I think that's actually happening down here with
465
00:26:01,666 --> 00:26:02,600
the flower as well
466
00:26:02,600 --> 00:26:04,766
so project 3D4
467
00:26:05,800 --> 00:26:07,700
front and I
468
00:26:07,700 --> 00:26:08,766
that's perfect
469
00:26:08,766 --> 00:26:10,233
that's what we're looking for
470
00:26:11,466 --> 00:26:13,400
so it's looking pretty good through all the frames
471
00:26:13,400 --> 00:26:14,966
we're just gonna wanna clean up the background
472
00:26:14,966 --> 00:26:17,866
and uh see what we have left
473
00:26:20,566 --> 00:26:22,033
so I'm gonna go into
474
00:26:23,366 --> 00:26:24,366
my background there
475
00:26:24,366 --> 00:26:28,000
which has the whole image and add a roto paint node
476
00:26:29,100 --> 00:26:30,066
and like I said before
477
00:26:30,066 --> 00:26:31,800
you can do this in Photoshop if you prefer
478
00:26:31,800 --> 00:26:35,200
uh whatever method gets it done quickly for you
479
00:26:36,333 --> 00:26:37,666
I've been liking the
480
00:26:38,800 --> 00:26:41,833
nuke paint tool so I'm gonna do this all in nuke
481
00:26:42,400 --> 00:26:44,133
and just quickly paint everything out
482
00:26:44,133 --> 00:26:47,233
you can use a series of transform masks if you want to
483
00:26:48,700 --> 00:26:52,633
and any other methods that we discuss from class 2
484
00:26:54,000 --> 00:26:56,266
alright and with more of that movie magic
485
00:26:56,266 --> 00:26:57,800
we're back with a clean frame
486
00:26:58,066 --> 00:26:59,266
uh so like I said
487
00:26:59,266 --> 00:27:01,166
it just cloned and painted different areas
488
00:27:01,166 --> 00:27:02,866
and then since the background was blurry
489
00:27:02,866 --> 00:27:05,033
we could get away with blurring a lot of it together
490
00:27:05,466 --> 00:27:06,766
take a look at our result
491
00:27:10,933 --> 00:27:12,600
and we're getting pretty close there
492
00:27:12,766 --> 00:27:13,600
maybe do a little
493
00:27:13,600 --> 00:27:15,400
edge work to soften up some of those flower
494
00:27:15,400 --> 00:27:16,466
and snow edges
495
00:27:16,766 --> 00:27:19,933
uh and towards the end here
496
00:27:19,933 --> 00:27:21,400
it looks like our our back
497
00:27:21,400 --> 00:27:23,300
our backplates not quite big enough
498
00:27:23,600 --> 00:27:25,733
so we'll go over a couple of alternate methods to
499
00:27:25,733 --> 00:27:28,100
fix that background plate and carry on from here
500
00:27:30,733 --> 00:27:32,900
so we have a couple options to address this
501
00:27:33,100 --> 00:27:34,866
gap in the background we have here
502
00:27:35,166 --> 00:27:37,833
one will be to project this on the inside of a sphere
503
00:27:38,400 --> 00:27:40,766
and scale it up until we had the right size and shape
504
00:27:40,766 --> 00:27:44,000
until it filled up the background for the entire shot
505
00:27:44,066 --> 00:27:46,466
but the card has a neat feature that I'd like to
506
00:27:46,666 --> 00:27:49,033
demonstrate and that's the bicubic
507
00:27:49,333 --> 00:27:52,233
and you can if you go into the deform tab on the card
508
00:27:52,333 --> 00:27:54,866
and select by cubic from the drop down menu
509
00:27:55,100 --> 00:27:56,300
you'll see that you get these
510
00:27:56,566 --> 00:28:00,433
bezier handles on your card and if you move those
511
00:28:01,766 --> 00:28:03,466
you can see that it'll deform
512
00:28:03,466 --> 00:28:05,700
your background image as you like um
513
00:28:05,700 --> 00:28:07,700
if we take a look at that in 3D space
514
00:28:07,700 --> 00:28:08,500
you can get a
515
00:28:09,100 --> 00:28:10,600
a better sense of what's going on
516
00:28:10,600 --> 00:28:13,400
you're actually deforming this card in 3D space
517
00:28:13,600 --> 00:28:15,700
um by the use of these handles
518
00:28:16,533 --> 00:28:18,066
you gotta be careful which ones you select
519
00:28:18,066 --> 00:28:19,000
as you can see here
520
00:28:19,000 --> 00:28:21,200
otherwise it'll give you some funky results
521
00:28:21,500 --> 00:28:22,600
but it's a great little tool to
522
00:28:22,600 --> 00:28:24,266
get things like this done quickly
523
00:28:24,966 --> 00:28:25,800
and efficiently
524
00:28:25,800 --> 00:28:27,866
especially since you can select these handles
525
00:28:27,900 --> 00:28:29,466
through the viewport uh
526
00:28:29,466 --> 00:28:31,100
not just in 3D space
527
00:28:31,500 --> 00:28:33,366
uh that really makes them
528
00:28:33,566 --> 00:28:35,300
uh extremely useful
529
00:28:35,366 --> 00:28:39,166
for all sorts of aspects in 2D and 3D compositing
530
00:28:39,300 --> 00:28:41,266
so if we take a look uh
531
00:28:41,866 --> 00:28:42,566
through the view port
532
00:28:42,566 --> 00:28:44,566
we can see that we're probably gonna need to do a
533
00:28:44,566 --> 00:28:47,066
a two d transform as well just to
534
00:28:48,066 --> 00:28:50,733
get the card in better position um
535
00:28:50,733 --> 00:28:52,566
we'll drop it down in y here
536
00:28:53,533 --> 00:28:55,866
before we start messing around too much with our
537
00:28:56,666 --> 00:28:58,466
with our bicubic handles there
538
00:28:58,466 --> 00:28:59,866
and maybe we'll just
539
00:29:00,300 --> 00:29:01,766
scale it up a tad
540
00:29:03,700 --> 00:29:05,400
just till we have something workable
541
00:29:05,666 --> 00:29:08,966
and we go back into our deform tab up here
542
00:29:09,666 --> 00:29:11,033
grab these handles
543
00:29:11,666 --> 00:29:14,833
and just pull them out there and forward
544
00:29:15,266 --> 00:29:16,900
and also we'll try to give
545
00:29:16,900 --> 00:29:18,600
give the card a little bit of a bend to it
546
00:29:18,600 --> 00:29:20,266
just to get rid of that that
547
00:29:20,266 --> 00:29:23,866
plainer look that it had beforehand um
548
00:29:23,866 --> 00:29:26,133
so perhaps if we can give this a nice little bend to it
549
00:29:26,133 --> 00:29:29,266
it'll rotate nicely behind
550
00:29:29,766 --> 00:29:31,000
behind the acorn
551
00:29:31,566 --> 00:29:33,400
or flower rather
552
00:29:50,866 --> 00:29:52,300
so we're looking 2D
553
00:29:52,800 --> 00:29:54,900
and just level those handles out a little bit
554
00:29:55,600 --> 00:29:57,900
scrub back to the beginning of the frame range
555
00:29:58,466 --> 00:30:01,000
make sure we're not causing any other
556
00:30:01,266 --> 00:30:02,700
troubles on the other end
557
00:30:04,766 --> 00:30:06,300
and you can see we've got a nice little fix
558
00:30:06,300 --> 00:30:07,366
going on there
559
00:30:09,100 --> 00:30:10,066
so now we've
560
00:30:10,066 --> 00:30:12,366
taken care of all the main elements that uh
561
00:30:12,700 --> 00:30:14,633
are required for our projection here
562
00:30:14,666 --> 00:30:16,166
so and it's looking pretty good
563
00:30:16,166 --> 00:30:17,300
it's coming a long way
564
00:30:17,366 --> 00:30:18,933
so now we can have a little bit of fun with it
565
00:30:18,933 --> 00:30:20,933
maybe do a little bit of of edge work
566
00:30:20,933 --> 00:30:22,766
uh back on some of our roto
567
00:30:22,966 --> 00:30:24,766
uh perhaps on the flower and ice
568
00:30:24,766 --> 00:30:27,000
we can maybe soften those edges a little bit
569
00:30:27,200 --> 00:30:30,066
um go up to that snow there and maybe add a
570
00:30:30,066 --> 00:30:31,800
new road or something like that
571
00:30:32,400 --> 00:30:36,100
uh my friend the erode blur oh
572
00:30:37,866 --> 00:30:39,800
wanna do that before the premult
573
00:30:40,800 --> 00:30:43,100
otherwise we're not gonna have too much success with it
574
00:30:50,066 --> 00:30:53,100
so you just pull away some of those edges there
575
00:30:53,366 --> 00:30:55,366
maybe we only need two
576
00:30:57,666 --> 00:30:59,233
and then a blur of one
577
00:31:01,200 --> 00:31:02,500
play around with those values until
578
00:31:02,500 --> 00:31:05,266
you find something that you're satisfied with and
579
00:31:06,266 --> 00:31:07,600
maybe soften up the
580
00:31:08,900 --> 00:31:11,266
edge of the flower with the similar technique
581
00:31:13,700 --> 00:31:15,300
again in before the pre mold
582
00:31:19,266 --> 00:31:20,433
take a look there
583
00:31:22,066 --> 00:31:23,166
it just kind of helps
584
00:31:23,166 --> 00:31:25,333
bleed it into the environment there without get
585
00:31:25,333 --> 00:31:26,733
getting rid of some of those green edges
586
00:31:26,733 --> 00:31:27,600
and some of those
587
00:31:27,766 --> 00:31:29,700
highlights that are a little bit too bright
588
00:31:31,466 --> 00:31:33,400
and just helps solve the shot a little bit
589
00:31:35,300 --> 00:31:37,200
so now I'm starting to feel pretty good about my comp
590
00:31:37,200 --> 00:31:39,400
it's time to have a little bit of fun with it and uh
591
00:31:39,400 --> 00:31:40,800
really hit this one home
592
00:31:40,800 --> 00:31:45,066
so with that I'm gonna introduce to you Z blur node
593
00:31:45,600 --> 00:31:49,300
which is a blur node used by Germans and or
594
00:31:49,800 --> 00:31:52,400
a blur node used by someone that wants to blur
595
00:31:52,400 --> 00:31:53,966
by the depth channel
596
00:31:54,166 --> 00:31:55,166
so if we take a look at the
597
00:31:55,166 --> 00:31:56,733
output of the scan line renderer
598
00:31:56,733 --> 00:31:58,300
we have our RGBA
599
00:31:58,800 --> 00:32:03,033
and if we drop down here in the viewer menu
600
00:32:03,266 --> 00:32:05,166
we can take a look at our depth channel
601
00:32:05,200 --> 00:32:08,633
and see that we're outputting depth information uh
602
00:32:10,166 --> 00:32:12,200
through the scanline render as well
603
00:32:13,266 --> 00:32:15,433
we can use this depth information
604
00:32:15,466 --> 00:32:18,333
uh to help us blur image based on distance
605
00:32:18,333 --> 00:32:20,766
or even do something like a rack focus
606
00:32:21,066 --> 00:32:22,933
uh anything fancy with blurs
607
00:32:22,933 --> 00:32:23,966
this is a great way to do it
608
00:32:23,966 --> 00:32:25,700
if you've got the depth information
609
00:32:26,133 --> 00:32:27,733
um and you can either have it come through
610
00:32:27,733 --> 00:32:30,666
the scanline render or perhaps it's a pass out of Maya
611
00:32:30,666 --> 00:32:32,466
or Vere or something like that
612
00:32:32,500 --> 00:32:35,766
to use a pass that came out of Vere or Maya
613
00:32:35,766 --> 00:32:36,866
you could uh
614
00:32:37,766 --> 00:32:39,466
pipe your channels together and maybe
615
00:32:39,466 --> 00:32:41,566
maybe call it depth dot Z or whatever you
616
00:32:41,566 --> 00:32:42,600
whatever you wanna call it
617
00:32:42,600 --> 00:32:44,366
and uh blur by that channel
618
00:32:44,800 --> 00:32:48,033
uh the math you would use would depend on what program
619
00:32:48,266 --> 00:32:50,300
you're receiving your death map from
620
00:32:50,400 --> 00:32:52,300
so uh in this case
621
00:32:52,300 --> 00:32:53,266
we're getting it from nuke
622
00:32:53,266 --> 00:32:54,566
so we'll mouse over
623
00:32:54,700 --> 00:32:58,833
uh the math menu here and see that far equals zero
624
00:32:59,533 --> 00:33:01,900
says that's used mostly by nuke and Render Man
625
00:33:01,900 --> 00:33:03,733
so that's what we'll set it to today
626
00:33:03,733 --> 00:33:05,766
if you're using something maybe out of Maya
627
00:33:05,766 --> 00:33:09,400
you could do far equals minus 0 and you'll
628
00:33:09,866 --> 00:33:11,666
play around with the results and and
629
00:33:11,900 --> 00:33:13,833
and you'll see what each one does
630
00:33:14,666 --> 00:33:16,533
we will check the inclusion box
631
00:33:16,533 --> 00:33:18,033
this box uh
632
00:33:18,300 --> 00:33:19,600
just says that things that
633
00:33:19,600 --> 00:33:22,066
are closer to the camera won't be uh
634
00:33:22,266 --> 00:33:23,733
blurred twice basically
635
00:33:23,733 --> 00:33:26,600
so you get the correct blurring going on by things that
636
00:33:26,600 --> 00:33:28,566
are included by using this check box
637
00:33:29,400 --> 00:33:31,300
and now for the focal plane setup
638
00:33:31,566 --> 00:33:32,833
we check this box
639
00:33:33,266 --> 00:33:36,933
the screen goes red and it pretty much becomes useless
640
00:33:36,933 --> 00:33:38,233
but that's because
641
00:33:38,366 --> 00:33:40,100
we have to go down to the next box
642
00:33:40,466 --> 00:33:41,500
focus plane
643
00:33:41,733 --> 00:33:42,900
and if we play around with that
644
00:33:42,900 --> 00:33:43,600
you can see what
645
00:33:43,600 --> 00:33:44,766
what happens
646
00:33:44,766 --> 00:33:48,300
uh the focus plane basically has a red plane
647
00:33:48,300 --> 00:33:49,533
closest to the camera
648
00:33:49,533 --> 00:33:50,766
a blue plane
649
00:33:50,800 --> 00:33:52,200
farther from the camera
650
00:33:52,800 --> 00:33:54,733
and uh anything that's in between
651
00:33:54,733 --> 00:33:57,866
so uh black in this case would be
652
00:33:58,066 --> 00:33:59,633
uh what's in focus
653
00:34:00,533 --> 00:34:02,466
uh there's a depth of field box below that
654
00:34:02,466 --> 00:34:03,366
if you need to
655
00:34:03,366 --> 00:34:05,333
uh fake the depth of field to get a
656
00:34:05,333 --> 00:34:06,800
a bigger range in there
657
00:34:07,000 --> 00:34:10,533
um but if you mouse over there it says true
658
00:34:10,533 --> 00:34:12,800
true theoretical depth of field uh
659
00:34:12,800 --> 00:34:13,666
is set to 0
660
00:34:13,666 --> 00:34:15,266
so we're gonna leave that as 0
661
00:34:15,266 --> 00:34:16,866
and see what we can accomplish
662
00:34:17,133 --> 00:34:18,866
uh size is the amount of blur
663
00:34:19,400 --> 00:34:20,366
got your maximum
664
00:34:20,366 --> 00:34:22,266
the amount of blur that it can go to and
665
00:34:22,266 --> 00:34:23,600
filter shape etc
666
00:34:23,666 --> 00:34:26,000
so we're gonna start by messing around with
667
00:34:26,366 --> 00:34:27,800
the focus plane a little bit will
668
00:34:27,800 --> 00:34:29,966
bump up our size to maybe say
669
00:34:30,066 --> 00:34:32,133
20 just so we get some really
670
00:34:32,133 --> 00:34:33,500
visual results
671
00:34:34,500 --> 00:34:36,600
and we'll just mess around with our focus
672
00:34:36,600 --> 00:34:37,166
playing a little bit
673
00:34:37,166 --> 00:34:37,966
like I said before
674
00:34:37,966 --> 00:34:39,200
we're gonna want something
675
00:34:39,200 --> 00:34:42,433
that has red in the front and blue in the back
676
00:34:42,866 --> 00:34:44,633
oop that's a little too far
677
00:34:48,933 --> 00:34:50,400
and then we can take a look at
678
00:34:51,066 --> 00:34:52,466
our RGB channel
679
00:34:53,300 --> 00:34:56,166
and see that uh our flowers nicely blurring there
680
00:34:56,166 --> 00:34:57,900
we can play around with our maximum
681
00:34:57,900 --> 00:34:59,833
see if we can get anything more out of that
682
00:35:03,566 --> 00:35:06,500
and we do so we'll leave that up around 15 or so
683
00:35:09,200 --> 00:35:13,800
and looks like a good way to start our rack focus
684
00:35:14,000 --> 00:35:16,866
so we'll set a keyframe on our focus plane
685
00:35:19,533 --> 00:35:22,966
and then we'll scroll through say maybe 50 frames
686
00:35:29,133 --> 00:35:31,166
turn our focus plane back on
687
00:35:32,800 --> 00:35:35,666
and see if we can
688
00:35:37,366 --> 00:35:38,566
get that into
689
00:35:40,066 --> 00:35:41,766
a nice gradient there
690
00:35:41,766 --> 00:35:46,200
where we get our black coming through on the flower
691
00:35:46,733 --> 00:35:48,366
just really fine tune it
692
00:35:49,200 --> 00:35:50,800
till we get exactly what we want
693
00:35:50,800 --> 00:35:52,433
take our focal plane off
694
00:35:59,333 --> 00:36:00,133
there you have it
695
00:36:00,133 --> 00:36:02,733
we got our nice focus flower again
696
00:36:02,733 --> 00:36:05,066
so if we scroll back in time we can see
697
00:36:05,200 --> 00:36:07,366
make sure our animation's happening
698
00:36:09,266 --> 00:36:12,033
and ram that up and see what it looks like
699
00:36:13,900 --> 00:36:15,500
so you're sitting at your desk
700
00:36:15,566 --> 00:36:17,366
it's about 5 o'clock in the afternoon
701
00:36:17,366 --> 00:36:18,466
you're feeling smug
702
00:36:18,766 --> 00:36:20,466
liking the way your comp's looking
703
00:36:21,466 --> 00:36:23,000
supervisor comes over
704
00:36:23,566 --> 00:36:26,200
2 minutes before the end of the day says I love it
705
00:36:26,200 --> 00:36:26,800
looks great
706
00:36:26,800 --> 00:36:28,133
let's make it 10% bigger
707
00:36:28,133 --> 00:36:29,500
render go home
708
00:36:30,000 --> 00:36:34,433
so what you try to do is you grab a transform geonode
709
00:36:36,300 --> 00:36:39,866
and you say okay I'll drop this guy in here
710
00:36:41,733 --> 00:36:43,100
I'll scale it up
711
00:36:46,166 --> 00:36:47,366
and move it up
712
00:36:51,333 --> 00:36:52,600
and what's happening
713
00:36:52,966 --> 00:36:56,066
nothing nothing good anyway
714
00:36:56,333 --> 00:36:58,533
all of a sudden your comes falling apart
715
00:36:58,533 --> 00:36:59,533
you're stressing out
716
00:36:59,533 --> 00:37:00,833
you got dinner plans
717
00:37:01,000 --> 00:37:03,000
let's look at how to solve this problem
718
00:37:03,933 --> 00:37:05,666
so there's two ways you can do this
719
00:37:05,666 --> 00:37:08,566
um this is due to the problem I was showing guys before
720
00:37:08,566 --> 00:37:10,700
uh their projections on geometry
721
00:37:10,900 --> 00:37:13,566
uh so if you move the geometry
722
00:37:13,566 --> 00:37:15,900
the projection misses the geometry
723
00:37:16,366 --> 00:37:20,400
so one way to do this is to turn the projection into
724
00:37:21,166 --> 00:37:24,600
UVs so uh in order for that to happen though
725
00:37:24,600 --> 00:37:27,800
you have to have UVs that are uh correctly laid out
726
00:37:27,933 --> 00:37:30,833
or at least so that everything's not on top of itself
727
00:37:30,933 --> 00:37:33,766
so in order to turn your projection into UVs
728
00:37:33,766 --> 00:37:35,833
you're gonna wanna bring in a scanline renderer
729
00:37:37,266 --> 00:37:42,400
and bring it up underneath your geometry oops
730
00:37:42,600 --> 00:37:43,833
grab the right one
731
00:37:45,200 --> 00:37:48,500
and plug your object unseen arrow
732
00:37:48,600 --> 00:37:50,700
into your geometry read node
733
00:37:51,966 --> 00:37:55,900
then in your scan line render under projection mode
734
00:37:56,500 --> 00:38:00,500
select UV from the drop down list and take a look
735
00:38:01,866 --> 00:38:04,733
now Jeremy's been kind enough to lay these UVs out
736
00:38:04,733 --> 00:38:06,766
so uh they look
737
00:38:06,800 --> 00:38:07,800
uh pretty good
738
00:38:07,800 --> 00:38:09,866
that's the image that's being projected onto
739
00:38:09,866 --> 00:38:11,766
the geometry stretched around
740
00:38:12,900 --> 00:38:15,433
so now we can take this image
741
00:38:15,533 --> 00:38:18,266
and using the apply material node
742
00:38:21,100 --> 00:38:22,900
we can grab the matte arrow
743
00:38:22,900 --> 00:38:26,100
which is now our material from our UVs
744
00:38:26,733 --> 00:38:27,966
and then the other arrow
745
00:38:27,966 --> 00:38:30,233
will plug back into our geometry
746
00:38:31,500 --> 00:38:33,900
and then plug that into our scene
747
00:38:34,700 --> 00:38:38,200
and if you look at our scan line render output
748
00:38:40,933 --> 00:38:44,433
you can see that nothing's changed it's still the same
749
00:38:46,500 --> 00:38:47,433
so
750
00:38:49,966 --> 00:38:52,500
this is another way to get the same result however
751
00:38:53,000 --> 00:38:56,633
this one you can add a transform oops sorry
752
00:38:56,933 --> 00:39:01,066
a transform Geo underneath
753
00:39:02,733 --> 00:39:06,166
and then when you move your geometry around in 3D space
754
00:39:06,766 --> 00:39:08,400
the texture goes with it
755
00:39:08,800 --> 00:39:12,666
so um that's a great way to do um
756
00:39:12,700 --> 00:39:13,666
textures and things
757
00:39:13,666 --> 00:39:14,966
especially if you're
758
00:39:15,100 --> 00:39:16,700
if you're needing to paint on top of it
759
00:39:16,700 --> 00:39:19,033
well once you've got your UVs laid out here
760
00:39:19,100 --> 00:39:21,366
uh you can use the paint tool
761
00:39:21,366 --> 00:39:22,500
whatever you need
762
00:39:22,533 --> 00:39:24,500
uh underneath that and then plug
763
00:39:24,500 --> 00:39:27,300
your material arrow into the bottom of that 2D chain
764
00:39:27,800 --> 00:39:30,033
and put it back on your geometry
765
00:39:30,200 --> 00:39:32,200
and uh carry on from there
766
00:39:32,200 --> 00:39:34,600
so anytime you have a balcony or something that
767
00:39:34,600 --> 00:39:37,033
has stretched projections
768
00:39:37,100 --> 00:39:38,066
you can lay that
769
00:39:38,066 --> 00:39:38,800
lay out the UVs
770
00:39:38,800 --> 00:39:40,466
paint on top of the stretching
771
00:39:40,733 --> 00:39:42,866
and uh carry on from there
772
00:39:43,266 --> 00:39:44,466
uh but as you can see
773
00:39:44,466 --> 00:39:47,266
this would be a big setup for uh what we have here
774
00:39:47,266 --> 00:39:48,466
we've got uh
775
00:39:48,466 --> 00:39:49,366
three or four of these
776
00:39:49,366 --> 00:39:51,300
and sometimes you can have even more of those
777
00:39:51,500 --> 00:39:54,500
um so let's look at another way to do
778
00:39:55,300 --> 00:39:56,666
another transform like that
779
00:39:56,666 --> 00:39:59,633
we'll get rid of that and go back to normal
780
00:40:01,600 --> 00:40:05,000
and this time we're also gonna use a transform mast
781
00:40:05,000 --> 00:40:06,300
or transform Geo
782
00:40:06,933 --> 00:40:09,600
and we're gonna plug it in after our C node
783
00:40:09,966 --> 00:40:13,366
so we can move everything all at once however
784
00:40:13,666 --> 00:40:14,933
like I demonstrated before
785
00:40:14,933 --> 00:40:16,566
if I was just to move this around
786
00:40:16,566 --> 00:40:18,466
uh we would just break our projection
787
00:40:18,600 --> 00:40:20,466
so what I'm gonna do is I'm gonna
788
00:40:20,466 --> 00:40:22,166
grab another access node
789
00:40:24,933 --> 00:40:27,366
and I'm gonna attach it to our projection camera
790
00:40:29,333 --> 00:40:33,500
and bring this guy out here
791
00:40:34,166 --> 00:40:35,733
and we're gonna create an expression
792
00:40:35,733 --> 00:40:38,433
from our Transform Geo to our axis
793
00:40:38,500 --> 00:40:41,633
so that we can adjust our values in our Transform Geo
794
00:40:42,000 --> 00:40:44,600
and we will move the camera at the same time
795
00:40:44,600 --> 00:40:46,900
that's projecting on our geometry that we're moving
796
00:40:46,900 --> 00:40:48,866
so they'll all move in unison
797
00:40:48,866 --> 00:40:51,566
and you can accomplish the same result that we got
798
00:40:51,600 --> 00:40:54,200
by applying the UVs to the geometry
799
00:40:56,000 --> 00:40:58,266
so in case you don't have properly laid out UVs
800
00:40:58,266 --> 00:41:01,400
this is a a great plan B
801
00:41:02,000 --> 00:41:04,500
so in order to create that expression
802
00:41:04,500 --> 00:41:07,566
you're gonna want to control drag on a PC
803
00:41:07,933 --> 00:41:09,966
uh command drag on a Mac
804
00:41:10,266 --> 00:41:11,600
the values from
805
00:41:12,700 --> 00:41:15,166
each category that you may want to transform
806
00:41:15,500 --> 00:41:18,566
from the transform Geo to the axis note
807
00:41:18,766 --> 00:41:21,800
and let's do the scale as well
808
00:41:23,100 --> 00:41:25,200
and then you can see
809
00:41:25,200 --> 00:41:27,900
uh our our expression link arrow there
810
00:41:28,266 --> 00:41:31,333
and if we test it by doing a quick scale
811
00:41:31,333 --> 00:41:33,366
if you try to do it in in your axis node
812
00:41:33,366 --> 00:41:34,933
you'll notice that nothing happens
813
00:41:34,933 --> 00:41:38,266
because it is expression linked to our transform Geo
814
00:41:38,266 --> 00:41:40,466
but if you do it in the transform Geo
815
00:41:42,066 --> 00:41:44,066
boom there you are
816
00:41:44,500 --> 00:41:45,666
you're 10% bigger
817
00:41:45,666 --> 00:41:47,633
you ready to render and go home
818
00:41:47,700 --> 00:41:49,200
the only drawback to this is
819
00:41:49,200 --> 00:41:50,966
you notice now that we're doing that
820
00:41:51,866 --> 00:41:53,900
it's also scaling up our background
821
00:41:53,900 --> 00:41:56,533
but they didn't want anything done to the background
822
00:41:56,533 --> 00:41:58,433
they just wanted it done to the flower
823
00:41:58,500 --> 00:42:01,766
so the only way we can separate that out
824
00:42:01,766 --> 00:42:06,400
uh using this technique is to add a scan line renderer
825
00:42:07,533 --> 00:42:10,366
a second one and attach it to our card
826
00:42:10,600 --> 00:42:13,900
unplug our card from that scene and
827
00:42:15,533 --> 00:42:20,466
use our friend the over to merge a over B
828
00:42:21,933 --> 00:42:23,166
for our final pipe
829
00:42:24,500 --> 00:42:27,266
and you know it's not not a bad idea to
830
00:42:27,400 --> 00:42:29,833
separate out your background like that because
831
00:42:30,166 --> 00:42:32,200
once you've got that separated you can
832
00:42:32,200 --> 00:42:34,733
if you take a look at your old scanline render output
833
00:42:34,733 --> 00:42:37,433
you've got just the alpha from your foreground
834
00:42:37,600 --> 00:42:40,700
and it's not contaminated by your background there
835
00:42:41,000 --> 00:42:43,133
so that's a great way to uh
836
00:42:43,133 --> 00:42:45,500
manipulate the edges of your foreground as well
837
00:42:45,500 --> 00:42:47,233
so not a bad technique
838
00:42:47,266 --> 00:42:50,466
we'll stick with that one for this case and uh
839
00:42:51,266 --> 00:42:54,066
raise this by point of 5
840
00:42:54,066 --> 00:42:56,066
so it all fits in the shot there
841
00:42:57,533 --> 00:43:00,266
maybe give it a get out of our alpha channel
842
00:43:00,800 --> 00:43:03,466
go to our last frame we had that issue with the stem
843
00:43:04,600 --> 00:43:05,966
where it looked like
844
00:43:05,966 --> 00:43:08,066
it wasn't quite connecting at the end there
845
00:43:10,200 --> 00:43:12,333
so now it is and if it wasn't
846
00:43:12,333 --> 00:43:14,266
we could just translate up a little bit
847
00:43:15,266 --> 00:43:17,333
for the overall shot
848
00:43:17,333 --> 00:43:19,500
maybe that's a little bit too much
849
00:43:19,533 --> 00:43:20,566
there you have it
850
00:43:21,333 --> 00:43:23,000
and also when you come set up this way
851
00:43:23,000 --> 00:43:24,366
with a separate background
852
00:43:24,466 --> 00:43:26,000
coming through your scan line render
853
00:43:26,100 --> 00:43:28,366
you can add
854
00:43:28,366 --> 00:43:31,100
a lot of God rays and things like that just to really
855
00:43:31,100 --> 00:43:32,466
really ham up your shots
856
00:43:33,600 --> 00:43:35,866
so that's gonna wrap up our lesson for today
857
00:43:36,100 --> 00:43:37,600
feel free to carry on with this
858
00:43:37,600 --> 00:43:38,166
like I said
859
00:43:38,166 --> 00:43:40,166
you got a separate foreground and background now
860
00:43:40,166 --> 00:43:42,866
so you can add little bits of flare here and there
861
00:43:43,366 --> 00:43:44,966
like maybe some volume raise
862
00:43:44,966 --> 00:43:47,433
that's always a big crowd pleaser
863
00:43:47,866 --> 00:43:49,733
I hope you learn how to set up some
864
00:43:49,733 --> 00:43:51,333
some projections here and uh
865
00:43:51,333 --> 00:43:52,266
remember the two
866
00:43:52,266 --> 00:43:54,533
two various ways to move projections about in
867
00:43:54,533 --> 00:43:57,300
in space and sort of do some
868
00:43:57,300 --> 00:43:59,100
do some planning ahead before you start doing
869
00:43:59,100 --> 00:43:59,666
projections
870
00:43:59,666 --> 00:44:01,066
and really know what you're gonna have to do
871
00:44:01,066 --> 00:44:04,400
and and this is a great technique for a steel frame
872
00:44:04,400 --> 00:44:05,400
but it also works really
873
00:44:05,400 --> 00:44:07,200
really well with motion frames
874
00:44:07,200 --> 00:44:08,000
I'd like to thanks
875
00:44:08,000 --> 00:44:10,800
thank Jeremy for providing us with this
876
00:44:11,066 --> 00:44:12,533
fantastic picture to work with
877
00:44:12,533 --> 00:44:14,833
and also setting up that pre comp
878
00:44:15,133 --> 00:44:17,266
and keeping everything labelled and organised
879
00:44:17,266 --> 00:44:19,400
so I could pick up right where he left off
880
00:44:19,400 --> 00:44:20,333
so thanks for joining me
881
00:44:20,333 --> 00:44:21,133
I'm Charles Lupage
882
00:44:21,133 --> 00:44:23,600
I look forward to hearing from you guys in the forums
883
00:44:23,800 --> 00:44:25,700
and we'll see you in a couple weeks
64329
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