All language subtitles for 02. Matte painting preparation

in this lesson

we will discuss the steps needed to work with

our pre existing matte painting in Photoshop

to prepare it for image projection within nuke

so what you're looking at here is a

is composed of a few different elements

what I'm going to do is

I'm gonna turn off a few of the layers

and we'll discuss the elements individually

so the first layer I want to discuss

is our background image of this

just this mountain scene that you see here

this is coming from an actual video file

that was rendered out as an image sequence

now this image sequence

is what we will be utilizing within nuke

to be able to do our camera tracking from so

so what you're seeing here

is just a still frame from that

other than that

it is just being utilized to then build

the required elements that was needed for the shot

on top of it in the matte painting

so the next elements that we're going to look at

would be the building and the antenna

so there are two layers

the building

in the antenna

have been brought in and

and digitally assembled from Biomat painter

in this scenario that we're

we're building here

and what the point of this was was

then what we're going to do

is take these elements that are in the matte painting

and we're going to project them in nuke

utilizing the 3D side of nukes backbone

so the exciting part about this is

we're taking live action video footage

which is the mountain scene

and then we're going to combine that

with these 2D elements

that were created by our mat painter

using various photographic elements

so what you're looking at right here

is your building element

and your antenna element

very simple

but the important thing to note is

on this is in the building

if we're kind of zooming in here

we have various geometric shapes

a lot of times

when you're building these scenes in nuke

this is a fairly common practice

that compositors deal with

where you're having to think of it in

in terms of simple geometric shapes

so in this case

if I'm building the geometric shapes in nuke

I only have very limited amount of 3D

objects to build from

so I have things such as cubes

or planes etc

now what we're going to be utilizing

and we'll discuss this further

once we get into nuke

is we're going to be creating this

utilizing a few different planes

now the reason for this is

if you were getting into a really advanced

very extremely advanced nuke setup

where you would have a modeler

go into Maya

and actually model

this entire building in 3D space

then they would take that

and it would be exported

and brought into nuke

where we would then project

all of the various elements

onto all the complex geometry

that was created in Maya

but for this course

getting your feet wet

and helping you understand the basics

in the back bone

of how 3D setup works in nuke

will then allow you to continue into the more uh

further advanced steps

of utilizing actual

full on modeled 3 geometry

so in case this case

we're going to be taking a few planes

and we wanna think of this in

in terms of

a few different planes

so so what I'm going to do

just so you can kinda get an idea

I'm just gonna select

and you're gonna see right here

this could be a plane

that side of the building

and then I'm going to deselect that

just so that you having

and this is just for illustration purposes

then you're gonna see

this side of the building

so this side of the building

obviously would be another plane

the reason is

you're seeing

you know if you're thinking this

in terms of a

rectangular

cube like shape

there would be four sides to the box

so to speak

and this is one side

and then the other side

is the other side

you can see here

and then obviously

you'd have two more sides

on the back

that are not visible

from this viewpoint

then what we would be doing

doing is then

also projecting our tower

antenna array

onto another piece of geometry as well

so in terms of this

we're going to keep it

reasonably simple

now once we have

done those we

once we have created those three pieces

what we will do is

we'll take a look

and we'll see

if we need to go further

in depth so

so what I mean by this is

then we could come back to Photoshop

and if you wanted

what you can do

is you could

extract various pieces so

so for instance

like these pieces

sticking off of the wall

right here that part

and that part

right there

you could extract those

and create separate layers

in Photoshop

and then you could paint behind them

to fill in the blanks

so to speak

and then you could

project those pieces

as separate pieces

onto separate geometry in nuke

and so then

you can continue

to start to

break things out

you could break this piece out

you could start to break that piece out

this piece out

and of course

then this tall piece

that's jutting out from the side as well

so basically

what we're going to do is

we're going to

extract these elements

as they currently are

from our matte

painted image

and we're going to take them into nuke

set that up

take a look

and then once we have everything set up

we're going to decide

is there enough

parallax uh

based upon our live

action shot

that would require us

to have to create

those elements

as separate

individual projected

elements now

my gut is to say

that we probably wouldn't

because this is a wide angle shot

but the reason I'm pointing this

out is because

stuff like that

is what is very

important as

as the compositor

is needing to be able to

assemble his

his shot to know that

that might be

something that

they might need to work with

so it's just all about

being aware

of what you're working with

within this shot

and what you're working with

with what you've been

provided in

in addition to

what you might need to create

on top of already

provided elements

within your

matte painting

so okay so we've discussed

these three layers

now there's a

few more layers

very simple ones

you can see that

there's been

sort of a warm

a warming layer that just

is creating

a warm tone

in the foreground

here now that

that's just an

artistic decision

made by the map painter

so we will respect that

because the

Assumption is

if you're building a shot

from scratch

and you're working within a

production pipeline

the map painter

has provided these

elements to you

because the

art director

or the director

has already stated

this is the look

that I want

I like it I approve it

let us turn this

into the shot

so you have

that foreground

warming layer

we also have

a fog layer

so you can see

if I turn that on and off

that it is now

starting to

create sort of

a fog atmosphere

over the screen

left side of

that mountain

and also on the

top half of

the building

as well as the entire uh

antenna array

kinda just just

milks it up

apologies wrong

wrong layer

there we go

so you can see

you can see

the difference

that kind of

starts to further

integrate your

elements into

the shot so

that's stuff

that we will need

to be aware of as well

when we get to

the final steps

of integrating

our live our

our 3D projected

elements onto

our live action

background plate

now let's see here

so we have a further

just a slight

brightness contrast

adjustment layer

that's going on here

all of this

is stuff that we

are going to

worry about

once we are in nuke

so the good thing is

these are our guides

to be able to know

this is what

we're going to

be utilizing

within nuke

so if I turn these

three layers off

that is actually

what you are

going to want to

set up for nuke

and we'll take

a quick break

and then we'll come back

and we will

begin discussing

how to extract

these elements

and we will then

continue working

in nuke to be able

to build this

into a 3D scene

so just to recap

in this lesson

we've discussed

augmenting our

pre existing

map painting

in Photoshop

to prepare it

for image projection

within nuke