All language subtitles for nuk214-class09

hello ladies and gentlemen

Charles Lapage here

um welcome to class 9 um

this is gonna begin

the summation of our semester so far

hope you guys have been enjoying it

uh and we are gonna apply the wealth of knowledge that

you have Learned thus far to this shot

from beginning to end uh

this is some local footage that I took here in Boston

uh this is the long fella bridge and uh

I'd like to make this a tribute to

uh Bob Hoover

so we are gonna turn the scene into

sort of a World War 2 esque scene

um we'll put some CG elements in there uh

talk a little bit about uh

the color correction process

setting everything up and uh

delegating out work for the visual effects pipeline

and then in Class 10

we'll composite it all together and uh

hopefully have a pretty good looking shot

at the end of it all here

the cool thing about this shot

is that we have free range

we can do pretty much whatever we want

um and when I'm in charge of a shot like this it's uh

it's easy to let imagination get the best of you uh

imagination is a very important part

you wanna you wanna use it to your advantage

but the thing to keep in mind when you're doing

all that imagining is

uh a timeline

you wanna make sure that

you're gonna be able to accomplish the amount of work

uh in the amount of time that you're allotted

you wanna make sure that if you cannot do it yourself

that you have the ability to delegate

it out to people that can help you accomplish

the goal in the time that you need it and uh

make sure that you have the resources to get it done uh

in the time

time frame uh

that being said

and with that lurking in the back of our minds uh

the next thing I like to do is

sort of set up a mood for the shot

we got the plate here

which is pretty nice plate to begin with

so we don't have too much work to do with it

but I like to give it an initial color grade and

maybe perhaps a crop

and just kind of help my imagination

see where we're gonna go with this shot

and so to develop a little bit of a style

which may change as we add elements

um we'll see

so with that

we're gonna

get into color grading this plate a little bit

I'd like to

it's pretty

pretty cool at the moment and the

the blacks are really dark

so I wouldn't mind bringing up

the blacks on this bridge and

uh maybe the game down in the sky

and perhaps on the water a little bit and uh

maybe desaturate it

and we'll see where we can go with it

okay so now that we have a goal in mind

we're gonna uh do a quick

quick and dirty color correction on this guy and uh

get us in the mood

so we're uh

giving the lights and lighting the candles

so we're gonna start by uh

creating some mats

um because it's gonna be pretty tough to get this on in

uh one color correction

so we'll start by um

making a map for our sky

so with a quick lumic here

we'll grab that

take a quick look at our alpha

and we'll hammer away on this until

with a quick and dirty key for our sky

check it at the end there

make sure it's still gonna work

just crank down on that one

maybe let off on that end okay

and Matt out the bottom here with a roto node

get a little bit of our edge in there okay

and we'll turn our shape color to black

so there's our sky mat

uh now we're gonna go on and make a bridge mat

we'll bring this over to the side

and in order to do the bridge mat

we are just going to add an invert to this guy

here that'll give us our bridge mount

and now we can start color correcting

I'm gonna leave these external

you could embed the channels

uh like Jeremy taught you last week

um but just so that when I come back to this

I I prefer graphical approach

so I'm gonna leave

uh my grades with just some uh mask inputs

so I'm gonna input my mat to the sky there

and when I grade something like a a sky like this

if I just uh quickly grade it

uh it's gonna be hard to make

everything uh line up here

so we're gonna grade the sky first

and we're gonna put the

uh grade four

before the tower is back on top

so we're gonna take a quick look at that

and we're probably gonna blur this mat

it's a little uh harsh from the inside

so we'll just really give it a

give it a good blur by adding a blur node

cranking that up

and then we can bring our

white point up a little bit

and our gain down

add a little bit of depth in there with our multiply

alright and

now I wanna bring some of the blacks up in the bridge

like I've mentioned before

so we're gonna add another grade note here

pipe in my channel for the bridge

and mess around with my black point

just see if I can see what I can get out of there

that'll bring my shadowy areas up

and perhaps we can

add a little bit of color into that

ever so slightly what this is a really sensitive one so

you want to be careful with that

and we just wanna get a little bit more detail

out of there

which we have uh will mess around with our multiply bit

here as well

and maybe we can

desaturate the whole thing towards the end here

um and adjust our gamma here

add a little bit of green in our gamma

and

lift it a bit ever so slightly we don't wanna break it

we wanna keep the sky in the bridge consistent um so

bring that up a little bit

and we'll take a look at our 1 and two

and that's getting there then we'll also

add a grade and another roto node

feather it on the negative

take a look at our grade and gain down our water

break it bring it back

and we'll go back to our sky and

mess around with our gamma a little bit

maybe we can add some orange to it

see what's happening here

what happens if we take off this

so there you can see what I was talking about with

the harshness between the mats

so we'll leave the blur on for the time being

since this is just a quick and dirty one

add a little bit of orange

a little bit of green

and we're gonna wanna fix this mat here

so we're gonna know that this bridge needs to go to

the roto department as soon as possible

and hopefully you're already getting the

shot tracked by this point

so we'll bring that

around here

just for the steel frame

cause what we're gonna do

the idea for

for this whole process is to get out a steel frame

um that we can make a style frame from

and then uh

that way it'll help us delegate our work

and figure out what we need to do

uh to get the shot completed on time so

now we're getting closer to something that

that's a little bit more uh intimate

and uh World War World War 2 esque

will add a saturation note at the end here

and just desaturated ever so slightly

cool so I'm getting pretty happy with that

look at the difference between the one and the two

just a little bit more friendly on the eyes um

maybe we took that saturation a little too far

still want a little bit of color in there

so maybe a point eight five will do it

alright kinda get some of that uh

brightness out of the sky that I

wasn't feeling so much beforehand

so we'll go back through here and label our grades if

uh if we get if we think we're gonna come back to this

but we'll stick uh

stick to a frame like this and and make a

a concept frame and then send it out to CG mat

painting and roto

so

also just to help uh on the composition front um

we'll add a little bit of a crop node

no just help us design our our shot a little bit better

turn our overlay on

oh and our project settings aren't correct so

and that probably means that

our Mets are all over the place nope okay

so we're just gonna crop the sky in a little bit

and a lot of this foreground water

lower that bridge on the

horizon to us so

maybe we can even leave a little bit more sky in there

and get rid of our bin here

take a look

and we got a pretty good

looking shot coming along there

so I'm gonna take this into Photoshop and I'm gonna uh

do a little bit of painting uh

just for the one still frame

so that then we can discuss some uh

some delegation techniques and uh

in the meantime

uh with we sent this

plate off to tracking to get a 3D camera

since we're gonna be adding so many CG elements

and smoke elements and etcetera

and also that way if

if we decided we wanna do a sky replacement

we could easily set it up for that

so I'll be back in a few minutes with a painted frame

and uh we'll discuss from there okay

so just come back from Photoshop

and this is a before and after of uh what we

what we're going for um

I just put some uh

tanks on the bridge

just quickly

didn't wanna waste too much time

um uh added a couple of aeroplanes and um

did a quick map painting for the bridge

and painted out some of these light posts

so now be a good time to uh

to call together the people you think you'd need um

once you've got a timeline laid out for

how much time you need

you can have your camera be tracked

your roto done

your mat paintings done

and your CG

elements sent to CG

all with a frame like this one so that everyone

can kind of understand where they're going

so uh we'll send the tanks on and uh

an airplanes to uh

the CG department

we'll take care of retto and matte paintings and uh

we'll also get someone on

element creation so that when we're ready to comp

the shot together

we have all our elements and uh

we can just spend all our time

concentrating on the composite and not uh

wrangling our images together

so now that we have this frame

we're gonna send our roto off and uh

we'll check in with the roto department

for a pretty cool technique on roto paint for this

kind of shot

that'll really speed it up

and in case you're doing it yourself all right

so we've put our

color correction aside for the time being

and we're over in the Roto paint department

hello it's me

Charles in the Roto paint department

so I came across a pretty neat technique that's

super time saving

for a shot like this

we got a move and

show you go

frame by frame and

sort of work out the jitter and stuff

but fortunately

we sent this over to tracking um

and Charles

tracked us in the tracking department for us

so we're gonna bring that

track in and uh

use it to help us

roto paint with only a few frames of work

and um I'll show you how to set that up and

get you guys moving on your way to

uh Speedy Roto

and paint when you have a 3D track

we're gonna follow

a similar setup that we uh

use for the projection section

so this should look familiar to you guys from the

2D projection class

and what we've got here is

Projection Node

except instead of being attached to

an unanimated camera

we have our

animated camera that we got from

track and department

thank you Charles and

we got our animated camera here

uh we're going through a we're projecting our plate

through the camera onto our card

and then we're gonna look at our scan line render here

and our card if we open it up in 3D space

you can see just floating in space there and

if we show our camera

you can see what's going on there

we'll highlight our card so

you can actually see what's going on

we're projecting our

plate through a moving camera

our moving plate through a moving camera on

to a card in space

and if you look through the camera

um we're gonna attach our scanline render

I'll explain this reform at note in a minute

uh we're gonna look through a scanline render

and if we set

the scanline render to perspective

uh we're not getting the results we need here

so we need to change this projection mode to UV

like we explained

uh in the 2D2 motion class

um and once we set it to UV

you can see that our card UVs that we're looking

at have created a stabilized plate for us

so just to demonstrate that

we'll put that red dot there

and as you scrub through

uh we're not moving

so now we can paint enroto on this plate

and we are producing a UV texture

and uh when we're finished with our texture

we can project that back onto our card using the apply

material node that we discussed in Class 6

and uh you'll see our results pretty shortly here

so if I uh bring in

demonstrate the rhodo first oh

let me explain this

reform that before I forget

so since our project settings are 6 44

80 um we've got

a pretty small texture

so if we were to reproject that onto a card that's

larger we'd be blowing up the image

so I've attached just a reform that note here

and scaled it up to 3

so then when we look through our scan line render

uh oh we gotta enable that

we've got uh

a format that's uh

three times the size of

uh the one we were piping in there

and so when we

reproject that we won't lose

uh quite as much detail or any

hopefully if everything goes according to plan

so bring in our

trusty Roto paint note again

or I guess you could do this all in one note

we'll split it up for Roto and then one for paint

since we'll probably have to project them separately

um just whoops

just to keep everything clean

so we'll go in here and just to demonstrate

how this is gonna work

we'll draw a quick shape

around our bridge

quick and dirty and then I'll go back and make it neat

so you guys don't have to be

bored by yet another Rotta paint

technique however

this one's super useful

especially when you're freelancing

saving time is key

when you go into someone's office

they've usually called in a freelancer because

it is too busy for the staff to just get it done

so they appreciate it when you can do a lot of stuff

all at once

so here is a fantastic technique

that will allow you to do so

so take a look at our shape

and as we scrub through the timeline

you can see we've got we didn't uh

do a too good of a job on the lens assortion

so uh we may have to animate maybe one or two keys so

we'll set one at the end there

go back to the beginning

and you can see that literally with about

two key frames

we have taken care of our rotor for the bridge

so I'll go ahead and finish up uh

the intricacies to this and

and spend a little bit more time rendering the towers

but while I've got you here

I will also demonstrate a paint technique

that works along the same lines

so bring our Peaky

bringing our Roto paint note

and we'll just take a quick look through

our Roto paint note and I'll uh

show you that all we have to do for this type of shot

we'll get a big brush

and we'll paint these out on this frame

being careful not to

paint anything we don't want

and just a word of warning

before you get too into your paint

make sure you keep checking before the beginning and

end however

if we keep an eye on that lamp post

and we're at the end frame there

let's not forget to set our paint strokes to all

um then when you go back to the beginning

got a tiny little bit more to add

and there we go

you can see our paint uh

translates just as well as our roto

and that's a pretty cool technique

to be able to paint stuff out really quickly

and uh even get into a matte painting

uh that match moves

uh well this way and

uh just a word of warning though

like I was saying

you wanna be careful where you're cloning from

if you take a quick

look at where the black space is coming in from

in our viewer

if I clone on this side of the lamp here

since the black space is gonna move to the right um

my paint stroke will eventually translate to black

so you'll end up with black holes

so make sure you you uh

get your clone source from the left side if uh

if your piece of paint is gonna disappear off a frame

or if you wanna paint in Photoshop and uh reproject

and add that still frame over this

that's fine too um

so then we'll just quickly go over

how to reconnect this

with the apply material

we'll take our material that we painted there

apply it back to our card

got it the same camera here I just cloned that and uh

bring in a new scanline render

attach it to our camera object and scene

and we look through that

we disable and enable our paint node

we've got our paint through the whole scene

back to our original format

and Bob's your uncle or mine anyway

okay so now that we've seen that our Roto paint

uh team is on schedule and gonna be able to

produce some quick maths for us

uh we'll go ahead and uh

start setting up our comp

using a similar method to this

we'll take this

script from our rotor paint department and

we'll get everything in here working so that we

can drop in some steel frames

and while we're waiting for our CG to

come out of the other end of the pipe

we can make sure our

comp's working so that by the time we get the other one

all we have to do is uh drop in our

our footage and

uh work on edges and uh colour

okay I'm back with my rotor paint setup

so you can see we've painted out the uh

the uh traffic lights and um

also all the signs

and stuff that were on the bridge before

um we got a nice looking rotto for

uh anything that we're gonna add to the bridge

so I also painted out this turret because we're gonna

add a piece of that matte painting that uh

I did earlier

so bring that in

and I just attached a little

bit of an animated grid to help it match the plate

so um we're gonna bring in a corner pin here

we'll put a merge node

first so we can see what we're doing

and take a look alright

so disable that from it for the time being

and we'll bring in a corner pin node

and a transform node

and typically

I always put the corner pin before the transform

so that my corner pin stays in the same spot

and then everything's transformed all at once

so in order to get my corner pin into the right place

we're gonna go up here

disable it first

and then we'll go into the from tab and

put our from here

here

and here and that's more or less where we want it to be

and then we'll go to the 2 tab and

do the same

good and then we're gonna bring our

check our corner pin

not too much movement

we're gonna reposition it anyway

so it doesn't matter um

and we'll bring our transform to

the middle of our piece here

whoops with our

command key

and drag it over into the right spot

scale it down a bit

get it into the right position

scale it up

finesse this

actually I'm gonna pull it down so that lines up

right with that other ring the way I painted it

and we'll just adjust the corner pin ever so slightly

till we get what we're looking for

bring this one into

and you can nudge with the number pad if you want to

once everything selected so clear our overlay

and we'll just

alright so now we have our destroyed turret

and that is on our projection frame so

uh now we have to add our usual grain node

and actually I

I checked this beforehand and I I just did a quick

tracker just because it bubbled a tiny bit um

so I think it just cause it's a tower

you really noticed it

so we'll put these in

and there's a tracker and a grain node

save you guys watching me do the grain again

and then if we bring our material here

take a look there

alright that should be there throughout

let the road to paint process a little bit

so this is a good example of

since we were

had such a big uh

plate that was three times the size of

of what we're looking at now

uh this is a good idea to uh

render this stuff out so that uh

you don't have to do this all the time

so by the time we're done with this we'll

we'll render out a clean plate and uh

and use that for our comping

especially since we're gonna have so many

elements in there

uh on top of this one okay

but for the time being that looks good and uh

we're also gonna bring in

a steel frame that I painted of the tanks earlier

and we'll put

may you ever be here

ah and actually

we're gonna have to do this one differently

we're gonna have to put this before our tower because

uh we want the wall to go over

our tanks to make sure it's working properly

so we'll put that over that

and then we're going to remerge a over B

and we forgot our Premont so

just put this section of the bridge back over

our tanks to make sure our rotors working properly

look at that it is beautiful um and

now we have all of our 2D elements um

and just for uh

to match to match our plate a little bit better

we're also gonna wanna add a little bit of motion blur

um to our elements because of the camera pans

we still get a little bit of motion blur

and fortunately

we have the camera that we use to track the shot

and that we're using to project so we can

uh be pretty accurate with our motion blur by using the

Motion Blur 3D mode

and this node requires a camera input

and a source input so we're gonna put our source input

as this turret here

and our camera input is gonna be the real camera

and then underneath this

we're gonna attach a vector blur node

and the motion Blur node outputs

uh UV information into the uh

motion channel

so that's what we're gonna wanna select

on our vector blur node

we're gonna select motion because that's

what we have in the output for our 3D Motion blur node

and then we're just gonna attach that uh

right before

our grain here

so put it after our tracker

and that's just gonna ensure that we have nice

matching motion blur throughout the shot

um if we're picking up any

so that our matte painting doesn't say sharp

and we could also do that to the tanks

but since we're gonna use the tanks as a 3D element

I just have them in there for

demonstrations purposes

to make sure that our comps working properly

so if we look at our output here

apply materials attached to the right thing

so our shots nice and matching the whole way through

our tanks move in there and uh

looks like our comp's gonna be working

for the most part

we've got uh

alpha channel for what we need

uh coming out of our

scan line render um

we've got a little bit of matte painting going on here

and we've got

we're ready to render this out

and pipe it into our color

color plate

gonna render it out just so that our paint uh

doesn't slow us down

we're gonna be adding a lot of

elements and probably some more paint here and there

so uh this is where splitting it up becomes

really important

you can add everything together as sort of a pre

count background

um and then we're gonna start adding uh

elements on top of this

and we'll maintain the alpha and uh

keep our color channel as it is

once it's gone through the color correction

so um that's gonna be it for today's class

uh we've got our background working

and now we're gonna wait for

the elements from the 3D department

uh we've talked to them about planes and tanks and uh

smoke and gun

gun flares and things like that

so we'll have plenty to do for class 10

I hope you guys enjoyed this one

and just before I leave

I managed to get out a quick CG

render so I slapped that on here and

added our color grade that we did earlier

so you can kind of

see where we are at the moment

and we can get our imaginations going

and see where we

what we need to accomplish for next week

so I've rendered this out

we'll give it a quick flip book

and see what we're working with

alright so we have it

uh we got a

couple things to fix when we get into the next one

uh nothing that's too big of a concern

and we're just gonna

pile a bunch more elements on top of here

and really have fun with it on class 10

so I hope you've enjoyed

uh this lecture today and if you feel like

uh going a step further and doing some matte painting

feel free to uh

use the techniques that we use for this piece here and

uh paint a collapse bridge or whatever you feel like

and uh I look forward to seeing some of your ideas

so have fun with it

and I'll see you next week for class 10