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[Autogenerated] in this clip, we're going to cover channel packing now.
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Channel packing is optimization of multi layered e x.
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Our files, the exe are files can be very bloated and very inefficient.
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And we're trying to make our compositing work flows as
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efficient as possible by using a single xar file that
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contains all of our render passes.
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But at the same time, when we really examine it, it's very bloated.
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Now we have 116 megabytes, and right now we have a lot of inefficiency.
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So let's take a look at what we have here,
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and I'm going to make this a bit bigger and we have our RGB a depth copter,
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shadow, puddle, pass, beauty.
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We have a stray layer that's a rogue of misspelling.
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We've got to get rid of that roto body diffused body directly.
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Reflection spec.
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For now, a O.
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U V and to multi mats.
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Now what we're looking for is inefficiencies.
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What can be combined?
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Well, for one, if we look at the Alfa channels, look at that.
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That's a duplicate.
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That's a dupe.
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That's a dupe.
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That's a dupe.
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That's a dupe.
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This is empty.
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This is empty.
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These air empty.
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This has a ground and doesn't even need anything.
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That shadow is important right there.
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And the rotor blades?
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Well, do we need those or can we combine those with that?
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So there's a lot of duplication right here, But are there other duplications?
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Well, what we want to do is we wanna optimize for example, rgb a of the plate.
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Couldn't we also store the shadow of the helicopter in the Alfa Channel of here?
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Couldn't we also declare that something like the for Nell pass?
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If we look at this, let's zoom in on this.
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Well, we have a duplicate of the Alfa in another quadrant.
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Also, if we look at the Red Channel, the Green Jell or the Blue Channel,
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are they not identical?
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They're identical because they're all black and white passes.
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So what we want to do is you want to look at what
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are identical in different passes.
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So if we look at each one of these, we do know we need RGB and A for the beauty.
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And we do know we want rgb a for the helicopter blades.
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But we only need rgb of this we need on Leigh read or
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a scaler channel of the for Nell, The spec channel.
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I I think I see some color in there.
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So we do want rgb of that while rgb of the reflection rgb of the body
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direct light because there's a warmth to it in a coolness.
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So we have to preserve that The ami and inclusion is merely black and white,
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so we could just keep the red.
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There on this UV pass are G b Will blues empty so
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we don't need the blue on multi?
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Matt, we've got RGB, but we have no Alfa and we also have rgb over here.
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What we want to do is we want to optimize and depth is
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Onley in the one Red Channel as it ISS.
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So we've got one here and we've got to here.
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And if we think about it, we have an opportunity.
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Put four channels in one layer one channel set,
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and that's the goal of channel packing.
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So let's swing over to the node flow and let's put depth
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together with UV because there there's red,
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which is it's on Leigh read,
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because it is the first channel will stored in blue and
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we use red and green for the U V.
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All right, so here we are.
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We have our body UV over here,
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and what we'll do is we'll take this one and will take a shuffle copy,
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and we're gonna use a shuffle copy on this instead.
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So let's just kind of make sure that we're pulling from the right spot.
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So we're gonna grab from input.
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One are red and green inputs, and you can see there it iss,
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and then we're going to grab input to our depth.
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So where is our depth?
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There's our copter depth.
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So let's grab that.
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All right.
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So you can see that that is coming into our blue on input to there we go.
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Awesome.
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So we can also flush away our Alfa so we don't have to store those
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extra pixels cause we don't need the Alfa for either the u V or
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that and weaken store it somewhere else.
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So now, after that, we're going to create a new shuffle,
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and that shuffles going to shuffle the rgb a into a brand new layer,
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and we're gonna call this layer you ve underscore depth and
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let's hit rgb a close and then instead of bringing in a
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copy of that one and that one.
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Let's just remove these over here like that.
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We're going to bring in the new copy None.
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Put it right there and we're gonna shuffle straight in and copy not the Alphas,
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but the layer copy of UV depth.
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And now, if we look at the end of our chain, we can see UV depth is R G.
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There's our U V S and B is our depth pass Now that just took two
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layers removed duplicate Alfa channels and reduce those two
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layers in tow one layer without sacrificing any quality or any
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usability in the final end.
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And we're going to come over here and I'm going to demonstrate this one here is
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Let's take the original plate and combine it with shadows.
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Let's make those shadows all one.
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So let's bring a shuffle Copy over here,
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and we're gonna go back to RGB and A and we're gonna input our first
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primary input to and put one and we're gonna grab R G and B.
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Now the Alfa Channel is gonna come in on input to,
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and we're gonna connect input to to the helicopter shadow And what we
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should see is if I had a there's that shadow pass.
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So I'm gonna leave this one here for now.
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We're gonna get rid of this and this and let's there we go.
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Let's move this up here and we're make that the B input right there.
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So now this is combining rgb and A into that one thing.
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Now let's take that a oh puddle and combine it with the other
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AO because we haven't another a over here.
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So let's remove this from our flow.
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We'll bring this over here, so weaken.
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Combine these together and let's combine them with a
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shuffle copy and we're gonna leave the primary helicopter
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input one will put him into the red, will take input to from green,
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and then we're going to keep those other two black for right now.
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Let's close that.
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So we have our red ao.
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We have our green ao and we have blue.
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We also have an Alfa.
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So what else can we store?
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What else?
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Well,
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let's grab some of the multi map because we have 123456
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So if we store four of these in one,
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then weaken store the additional two in the other.
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We're gonna bring these over to those ao areas,
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create another shuffle copy, and we're gonna grab this,
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like there.
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Okay,
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We're gonna grab the the blue and the red from this multi map
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will leave the green skids for the next one.
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The shuffle copyright Here.
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We want this to go.
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We want to preserve the red in the green we want to bring.
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We want to keep from input to red and green.
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And we're gonna grab blue from over here,
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which is gonna grab the rotor blades,
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and then we're gonna put the red into the Alfa.
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So we're gonna grab Red of input number one and put
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it out into the Alfa like that.
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Close that.
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So now we should have read, which is our ale green,
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which is our puddle ale blue, which is our rotor blades.
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And then if I goto a for Alfa, it should be the red things from the multi map.
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Great.
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I'm gonna go ahead and I'm gonna pack the rest of these images together.
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And I will come back with the video to show you how all this
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optimization can save some serious disk space.
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I have finished this,
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and everything is just copying and shuffling into the new area.
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And then we render all back out,
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and our new optimized version is now 87 megabytes.
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Now that's nearly 30 megabytes per frame.
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Smaller now may not seem like a lot,
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but when you're dealing with image sequences,
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every single frame that you go to in nuke is going to
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end up creating a input output.
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Slow down.
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When you have that sort of discrepancy,
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we can see that this layered contact sheet we've got
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all these different layers over here,
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and you can see how fast it refreshes as it tries to recalculate everything.
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And if I click over here, it goes a lot faster because we've optimized.
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We've gotten rid of a lot of passes,
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and we've combined impact the passes together.
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If I hit the a key, you can see there's only one Alfa Channel.
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There is one Alfa Channel of the body,
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one with Roeder's one with rotors by themselves,
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and we have shadows.
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We could probably skip this one as well and just combine these two to get that.
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But I thought we would leave that end in the last clip.
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We're going to take that one image file right here to 87 megabyte file,
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and we're gonna do a beautiful composite of the helicopter shot.
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