All language subtitles for nuk204-class02

welcome back to Nuke 2:04

this is class number two

and this is the shot we'll be

using this week to learn the lens distortion

and camera tracking tools in Nuke X

um pretty shaky camera

but not untrackable of course

and a good example

and it's a nice long shot too

so once you have a camera track for this time

there's lots of possibilities

of um adding things to the shot

I think one good thing to do for those

you building a real would be

extending the height of the building

at the end of the shot

so for example

once you have the camera track information

you could make this building go all the way off frame

rather than having it

be sure that would be a kind of a cool

cool challenge and definitely

be good enough for your real

so I think that's what I put back one more time

and then we'll go ahead and

and please notice these two guys walking in the frame

because we'll have to deal with them in a minute

otherwise everything else is totally static

except for the camera of course alright

so let's go ahead and get into nuke and start using

with the lens to start the

with the lens distortion tool so that we can make our

track that much easier

I've already gone ahead and

wrote it off our two

people walking through the scene here

now but this guy here

he's in the center of frame which

usually has less distortion than everything else anyway

unless there's a very weird lens

that almost always will

and he's very tiny

so I'm being a little anal by roto hang him off um

and spending the time to do that

but it's one of the situations where it looks

only takes me a couple minutes to roto

and if he does end up impacting the

calculation of one's distortion

and I'm troubleshooting it later

it could take me hours

so it's worth rotoing anything that um

moves in any way

and with this guy here

he does get big enough and he actually gets to the

corner of frame

which is where most of the distortion usually happens

that he could absolutely affect

the ones that torsion map that nuke generates

so I'm gonna go ahead and mask both those guys off

and that's already done

cause we covered Rhodell last week

there was no reason for me to obviously do that again

and show you guys how to do that

so our alpha channel is just those two rectangles

now let's go ahead with that being said

bring in our one's distortion tool

which is under the transform menu

and you'll see that we have two inputs

source and mask

I'm gonna plug

actually I can leave just the mask unplugged

but when I do use a mask

I like to plug it in

to something so that it's not just hanging out

here that way

anyone who looks

at my script will know that if there's no mask

that it is being masked by something

so let's plug that in

and I'll show you why

it doesn't matter if I plug it in or not

because when you do the Image analysis tab

you have the choice between

the mask channel

it could be the source alpha

so it doesn't have to have a mask

in this case

I'm just gonna call the mask Alpha since

it's the same thing um

it just makes things a little bit clearer

for anyone who might pick up the script

or maybe for myself if

I'm still working on the shot weeks later um

okay so going back to actually

let's go ahead and start with the Image analysis

tab before we go back to the 1 of the distortion tab

so what you have three options when you do

one of the distortion in nuke

image analysis is nuke literally

place to the sequence

whatever clip range you tell it to and

guesses what the one distortion would be based on how

the pixels move in the image

um this is gonna be the way

you're gonna wanna use it most of the time

mainly because you're not gonna have options for this

the absolute best way to do it

which is the grid analysis

and we'll talk about that in a little while

but that means that you were actually onset that day

or your supervisor was

and they shot a grid

of every lens that was shot

and then you can take that

scanned or it was red camera

for example

a digital file of that grid that

was shot with that camera

with that lens

and plug it right in here

and it'll analyze the grid um

this is much faster

cause it helped me has to analyze one frame and

it also is extremely accurate um

if you're doing a blue screen shoot and the

there's two people in the foreground

and nothing blue screen behind them

the image analysis is not gonna do anything for you

you you'd have to mask up the people cause they move

and then the blue screen has nothing to

analyze with

if you had some tracking markers

if you had enough of them

then image analysis could probably still work

but I wouldn't bet on it

you're gonna have to have a great analysis

or draw very clear tracking markers that

you know that they're straight

because then you can use line analysis

which we'll talk about in a second as well alright

so going back to image analysis

because in this case

this is gonna work like a champ for us

um so I mean

I'm gonna mask out those things that are moving

and then the only thing left to do

is change my camera motion from free camera

to rotation only

because by looking at the shot

I've determined that

is just a camera on a tripod

or someone's holding it um

and just moving it around

so it's not something that's dollying

it's not being

pulled or pushed

and because it's just rotation um

Nuke's gonna be

a little faster at picking up lens distortion

and a little bit more accurate as well

so I'm gonna go ahead and

click rotation only

I'm gonna say analyze image

and the nuke will plug away and should a progress bar

should pop up force and links how long it will take

it does take a little while it'll

it'll obviously be a lot faster depending on your CPU

and your Io to an extent

if this was

these are small JPEG frames

but if these were 2K

or 4 k Vista frames or red frames or 30

500 or scan film

it could certainly take quite a while

and your Io would certainly impact the speed of it

but most of the point

most of the time it's gonna be your CPU

so as you using a laptop for this

prepared to be patient

cause it is a very intensive process

that nuke does take a little while to accomplish

but there's no way around it unfortunately

this point so

and that being said

actually there will be

gives you more reason to use the grid analysis

if you happen to be able to get a grid

or the line analysis if you have like a shot

like this is a perfect one for line analysis

because we have lots of lines in the buildings

with which to analyze in it

although both of those are much quicker

process than image analysis

and actually will go forward and back um

before it's done to make sure it's got everything right

and I will since it's got another four minutes

I'm gonna go ahead and pause

my recording

and I'll be right back as soon as it's done

so distortion is done

and you'll see the features actually will still be on

the footage because I'm showing it

it's having it to show me the features if I can

features and tracks

I can see every track it drew

to determine what the distortion is

um so let's just go to none

so we don't need to see those anymore

and take a look at our image

see what we've come up with here

so here's a good frame because lots of lines to see so

make this a little bigger

so if I look at

those distortion of an actual distortion

you'll see that we are losing our lens distortion

and we'll look at the registerion tab

we'll see that these values are now filled out

including the card parameters down below

so we could just plug these parameters into a card

and instead of having to do any other math in here

the card itself would then

undistort the image for us

and now this undistort button is is key

because by default

it's gonna undistort

but if I wanted it to distort

for example

if we had rendered CG

that doesn't have distortion in it

I would wanna unclick this

so that I'd be distorting the image um

and then plug that through

now you can use that simply by

having multiple under distortion to tools in

but what I prefer to do is output the displacement map

which can be done up here under output type

you can change to displacement instead of image

and when you do that

first of all

the distortion

nothing happens to the image

but what happens is new channels are created

it creates the Motion dot U and Motion dot V pass

so if we channel shuffle that

you'll see this is what we get

and this is our lens map

this is now gonna be the actual mapping of the lens

as far as nukes as tools have calculated

so now we can render this out as a single frame

and I recommend doing that most of the time

so I'm gonna go ahead and render that into our file

so you guys have that

so for these

you on laptops

you don't need necessarily render everything

I actually make sure I call it analysis too

since we know

that this was done with an image

analysis will be doing it with a

couple different things

and you have to make sure you write it as an EXR

or any high

dynamic range image

but EXR is really

the only one that's gonna be high enough for you

I think DPX would probably work too

but um EXR is a safe bet

cause there's data in here that is well above 1

and well below 0 in some cases

and whether there is not

you have to make sure that you're covering for that

so I'll go ahead and render that

and it doesn't matter what frame

I'll just pick my current frame

so now I have that written out

and I'm gonna go ahead and bring it back into my scene

as expected

it looks exactly like the frame we were creating

so let's bring it back at our node graph here

and I'm gonna bring in an s t map tool

which is under transform s t map

and this tool is extraordinarily easy to use

so it's gonna move my Rotel pane

I was a source to the side

and go ahead and look at my plate again

so I'm gonna plug in the SRC

the source arrow into my plate

and the ST map into the UVs we just created

and with the change a couple settings on the s t map

so mainly channels are all which is fine UV channels

this is gonna be the data that we're plugging into it

so in this case

since we shuffled our UV channels into our RGB

we need to change the UV channels to RGB

and if we look at our image before and after

you'll see we're getting the proper distortion

and this shot does have tons of distortion

but you can see that we are in fact changing the image

now for those of you that want to do an experiment

if you run the camera tracker

which will go over of course in a few minutes here

if you run the camera tracker on

the undistorted image versus the

raw plate you will see that

the result is much better with the undistorted camera

so it's um good experiment

for those you that don't

understand why I do lungs distortion

but this is also the case

and especially when you're putting anything CG into a

in a 2 shot like this

taking out the lens distortion is vital because

the CG itself doesn't have one distortion

and there's no way to render it in

so you need to be able to do that later by

running it through something like this

with the G with an ST map

we want to redistor it which was mean

we'd go through the lens distortion tool again

and instead of clicking understort we click distort

which would give us another map

so although this is already distorts

let's go ahead and look at

plug this through to our steam map

which is un distorting the image

and look at our original

and we should see no change so there we have it

so this is distorting the image

this is the original

and then if we look at our lens distortion

which is now

distorting instead of un distorting the image

and look at our original plate

you'll see that everything is exactly the same

except that we've softened the image slightly

just very slightly

due to the fact that it belongs distortion

which is another tip actually

while thinking of it

you never wanted to distort the plate

so I'm undistorting the plate here

for tracking purposes

but unless there's a special case where I wanna

make sure the plate never

gets distorted and it's just seen that way

then I can just add a sharpening filter to

to bring back some of that detail

but ideally

I only use this for tracking purposes

and I never

never distort the plate for an actual final comp

so now that I'm gonna sort this

I would track it

put in my CG

and instead of

und distorting the plate

I would redestort the the CG

so then the CG would be distorted

and then put on top of the distorted plate

that is always the best way to work

because then you're using

the original plate with no softening going on

it's exactly what were shot

you're not degrading the image at all

of course there are occasions where you need to

but rare um

so just on a quick work flow note

that's what you wanna try to maintain

throughout your entire pipeline

okay so now

let's look at another way to use the

lens distortion tool

so there's two more tabs here

grid analysis and line analysis

let's go ahead and talk about line analysis first

so in a shot like this

line analysis will actually work really well

and will be much

much faster than image analysis

so let's go ahead and just see

you pick a good frame with it

lots of lines on each

edge of frame

let's think at the beginning actually

better place

so this is gonna be a good place to

to judge it

so let's try to make sure we have lines off frame okay

so line analysis

what it does is you draw lines on the picture

and then nuke will

figure out based on just a few lines

exactly what

the lens distortion is

uh it's not quite as accurate as image analysis

and it does

depend heavily on straight lines to be in your shot

so it's not always gonna work

but when you have lines like this

it works really

really close

and it's much faster image analysis

so let's take a quick look

and just start drawing our lines

so the first thing you need to do

is turn drawing mode on

everything else is pretty much gonna be the same

so you just click

one point for the start of a line

and you do wanna be pretty accurate here

go to the middle point of the line

and we'll go to the end of the line

and once you have all three points

you right click

and a line will be drawn

and let's go pick another line down here

I'm gonna game up a little bit so we can see better

and getting one be pretty accurate so

right there

right there and then all the way over here

and I'm gonna right click

and let's try to pick a line over here

see if we can see one

it's kind of hard to see the ones on the side

and see if we game it down again

alright so this one actually might work so 1

2 3 and then again you right click

and let's see if we can pick another one

these are a little harder to see

but I think it's it's worth it

because it's gonna be a lot of good distortion

you can really be able to understand the distortion

when there's things closer to the edge of frame

so you wanna give it as much detail as you can so one

2 3 right click

and let's see this line

that might be a good one actually

1 2

3 right click

and let's see

see if we can pick any more horizontal ones

let's go ahead and pick one of these right here

that one actually is a little too high

there seems to be a bump in the line

so we'll have to go below that a little bit

so I'm just gonna delete last point

and you may need to look through your sequence quite a

bit to find a line that's gonna work best for you

and you do there's really no

perfect number of lines um

you definitely need at least three

to to really make it a good line

and it really depends how long they are

the ones that go all the way across frame

and are nice and clear

you might need less but um

I mean you're not gonna get a result without lip

without at least three

and nuke will yell at you if you try to

pick two few lines

and right click and

let's try to get one more

we'll go ahead and just pick this one right here

so they don't have to be on the straight plane

they can be

in other places so

go ahead and pick this one too

I guess actually a sidewalks of bound to pick

because those are rarely perfect

so I'll delete last point

buildings of course are great ones to pick

and let's go ahead and just pick this line right here

alright so let's see what nuke does with this value

so once you have all your lines drawn

you just say analyze lines

I had this plugged into our undistorted plate

so it's actually not gonna have any

distortion to remove so

let's go ahead and kill this one's distortion tool

and I'm gonna bring in a new one

and do the same thing again

and I'll do it very quick this time

I shall just

I'll pause and draw them and come right back

alright so I do the some lines again

I didn't draw them in the exact same place but you know

doesn't really matter

as long as you find some straight lines to draw

so you can see that

the distortion is now happening again very accurately

or the undistortion rather

let me make sure I'm on undistort

I am on undistort

so there's our

one analysis

oh and I kept

adding more lines

so I'll turn off drawing mode now that I'm done

so there are my lines

and now something good to know

that I think I mentioned before

so the lens distortion tool can only be

analyzed in Nuke X

it's a Nuke X only tool

but once that analyzation is done

I can take this node and bring it into nuke 6

and or even

no I guess it nuke 6 only

I could bring this into older versions of Nuke

Nuke 5 and such

but this node will work

and distort and understort images fine in nuke 6

you only need to Nuke 6 x

when you're actually doing the analyzation

whether it's image

greater line

so that's just good to know

so that for those facilities or people that are

hoping to own multiple copies of nuke

you don't have to buy Nuke X just to do one distortion

I only one copy of it rather

and then the rest of your nuke stations will be able to

distort the image fine

I just can't analyze the lens distortion alright

so that's how one distortion works

if still populates this the values in the

in the settings in the car parameters as well

just like the image analysis does

now let's take a look at grid analysis

so for grid analysis because I don't have grid

lens grids that were shot for this

um we have to go and generate our own as an experiment

so I'm gonna bring in a checkerboard

and I'm gonna go ahead and make it

the HD size

and now what a lens grid is

is you literally shoot a grid so you'll print

you would make a large grid to bring to set

and usually it's black and white

let's make it black and white

with no centerline

and we'll make these a little bit bigger

not that it matters too much

you can make this squares any size you want really

just make enough to fill frame

so you would literally just shoot

the lens good with the camera

and the important thing is you want to have to

you want to fill frame so you get

the curvature of the lens all the way on all sides

and um that will distort the grid obviously

because you're shooting through the lens so

we'll have to create one since we don't have one

in this case

so I'm just gonna

use the lens distortion tool we have

and I'm gonna look at the grid checker word through it

and I'm gonna change undistort to distort

so now our grid

is distorted

to match the plates enough

we take this

and add another lens distortion tool

and again all we're doing with this

lens distortion is just storing the checkerboard

as if as if we had shot it with the camera

and the lens that shot this

and that's ideally how this would work

you'd never actually

take a checkerboard in distort it

and then run through grid analysis

but for our experiments

I don't have a lens grid

this is how we do it

so lens distortion gonna go to grid analysis

and um all you really have to do is click analyze grid

you know take a look at that

and anything you can do is a grid overlay

so you can actually look at the original grid

so it'll show you an overlay of the grid

or you can look at the understorted grid

so you can see what it's actually doing

you can see this is just map the grid perfectly and

original grid

you can see that it is curved that way

so now that we've done this

I wanna take a look at

the result of this to see how accurate we were

so if we look at our source

which let me make sure this is on undistored

so we're gonna undistort our image based on this

and now we're going to take

our ones distortion

that we did with our grid

turn off the overlay

and I'm going to tell it to

undistort and they're both should be set to undistort

so now if we look at both of these

we should seen exactly the same image

and as you can see pixel for pixel perfect

now it should because we're in a digital environment

but still you can see that

by creating

the distortion data

distorting the checkerboard through it

and then analyzing that distortion

has got us the exact same result

now in the perfect world

since digital is perfect

it should work like this

but it's it's cool to see the proofs in the pudding

and it actually is working perfectly

and that is a lens grin

this is gonna always be your ideal way

image analysis

look at a shot like this

image analysis is always gonna is gonna nail it

you're gonna get great results but

if there was more people walking through this frame

if there was something

bigger walking through this frame

or when you're shooting blue screen and you have

nothing to analyze

you know a couple tracking markers might not be enough

for image analysis to solve your problem

you want the one sure way to always get

the lens data you need

shoot a lens grid

as long as you want to make sure that the

squares are all exactly the same size

and all exactly the same point apart

other than that

doesn't matter how big they are

how small they are

as long as they're all exactly the same size

just fill the frame with the lens

shoot it and bring it into nuke and run

run grid analysis

this is by far gonna be your best bet

cause it will work every time

line analysis will work sometimes

and image analysis will work sometimes

a grid analysis will always

always work um

and that goes

uh for I mean

I just can't

preach this enough because

so many shows have gotten much more

difficult because no one shot lens grids

or we couldn't find them after they were shot

or things like that so

uh No. 1 priority for any of those

any of you who supervise the set

get those lens grids okay

so um that's a little detortion tool

now we have a nice clean

undesorted plate

let's go ahead and start checking out

our camera tracker

so let me delete what we don't need

and we still have our rotto paint

which is good because we can use that as well for our

our arc camera tracker

so I'm going to plug that back into our source

and you'll see that we're still have our

undistorted plate

so this is now undistorted

and I'll delete this one

and let's bring in our camera tracker

under 3D camera tracker

and there's lots of settings

and lots of ins and outs of this

but let's just start by getting ourselves

ourselves some data so let me close this

and I'm just gonna click track features

and let it let it start working

and we consider and watch it

you'll see the track of the features track

just like they did one distortion

and because it is gonna take a few minutes

it does go forwards and then all the way back

so I'm gonna let it do that and I'm just gonna uh

pause and come back while when it's done

so my tracks complete

you can see the features I'll track well

if we play through it all

you'll see how many tracking markers were chosen and

they all track relatively well

and there's lots of information

and all these individually will tell you

if you click on them

you'll see the track links being told

how many frames it was tracked for

you can delete ones that aren't very good

you can also choose to display track quality

which is a really useful

you'll see what was good and what isn't

nuke usually discards the ones that aren't for you

but the green is a great track

it means it has a really good track

and it as it gets yellow and yellower

it's getting less and less consistent

and if it goes red it's a

downright bad track

and nuke usually will ignore those already

and this one actually really tracked pretty good and um

and the route

I guess nuke doesn't ignore the red ones

that's that's the wrong thing to say

but because we have our

number of features at a hundred and fifty um

nuke track the hundred and fifty best features

you could find um

so if we added this to 1,000

I'm sure it would take hours to

to find them all

but it would also be lots of red ones

most likely because

it's not gonna find 1,000 great points in this

in this shot to track

now one mistake I made was

even though I have an alpha channel

I didn't tell it to mask anything

I'm not gonna go back and reanalyze

but for future reference

when you have masked out something like moving

moving guys

you wanna make sure you actually have it

tell it to ignore those guys

by telling it what alpha channel to choose

in this case

doesn't think we have any

markers that were tracked by our guy walking around

so I think we might be okay

maybe this one

so I'm gonna go ahead and delete this track

so we definitely can't affect them

and I'll go ahead and take a look at our

gentleman down here and make sure he was never touched

by anything

and this is fine to do after as well

if you don't need to write one you know

there's only a few things you'd have to mask out

there's no reason not to mask out one of these

so I'm gonna go ahead and delete this one

just to make sure it didn't touch him

and this one did touch him

so I'm gonna go ahead and delete that

cause you will sometimes get occasionally

like he's very trackable

you might get a good track Mark on him

but nuke doesn't understand that he's

moving in the frame and not a fixed point

so you definitely wanna make sure that any

tracking marks that touch him are gone

and here's another example

so this is a good thing to do

to go through here and delete these

it's actually kind of a good thing

I didn't mask him out

so just play through

make sure oh

there's another one

make sure we're seeing the whole image

this one wasn't a good track

but we'll get rid of it anyway

make sure none of those popped up

okay he's off frame now

just verify a few more

looks like we avoid him most of the time

anyway alright

so that's because that way of the feature is

you can solve the camera

now before you solve the camera

you wanna fill out

any information you have under solver

so this can come from a camera report

um which the script supervisor will manage for you

and you'll have lens information

you'll have hopefully lens information

potentially angles to start with and everything

but all we really wanna know is um

if we can get the focal length gray

but mostly we need to know is this a constant lens

is it a fixed lens or is it a zoom lens

this shot from everything I'm seeing

it looks like a fixed lens

it doesn't look like we zoom in or zoom out at all

so I'm gonna say it's an unknown constant um

I can also say approximate constant

and then I can tell it what lens I think it is

but it will it won't take that for the bible

if I know for sure with the lenses

I can say it's known

and it's gonna say this is a 50 millimeter lens

nothing else to do

this is definitely a lens

I don't know that's the case

so I'm gonna go with unknown constant

if it was a zoom lens

I would definitely wanna know unknown varying

because I want nuke to do

perform zooms in the camera

so that my CG will track in properly

now the filmback size

although I don't have a camera report

I'm guessing that since this was shot by Epic

PhD was shot with the red camera

so I'm gonna change this to 24.4

and 13.7 which is the

the red cameras film back size

and you can get that information on their website

and most cameras

if you know what camera shot with especially digital

you can look it up online

and find out what the film back size is

and make sure you always convert it to millimeters

or change this to images

for example

the Genesis um

is point nine

three inches

you could change it to inches

instead of doing millimeter conversion okay

now Camera Motion is free camera

this camera might be on a tripod or close enough to it

I mean not a tripod

but someone's holding it

and just kind of shaking it around

I don't believe that there's gonna be much um

dollying or anything involved with this move

but I don't know for sure

so I'm gonna leave free camera on

if I knew for sure this was on a tripod

and someone just moving it around

then I'm gonna get a better result

if I say rotation only

but with this solve

I'm guessing we're gonna get a nodal move only anyway

or rotation only move

so I'm just gonna leave it on free camera

and hope for the best

now keyframe separations are interesting

these are gonna

for most of the case

you're gonna get

the default centers are gonna be fine um

but there definitely

are some powerful features in here to use

when you have a really hard solve

and you're not getting a proper solve

you can change how often nuke looks at the keyframe

you can even set a reference frame to know okay

this is a frame that tracks properly

use this as your reference um

and you can also use 3 frame initialization

which means Nuke's gonna find 3 frames overall

instead of just two

which is default

to find out that okay

these these frames are good

and we're locked on these frames

so use these as a as as frames to to match to um

again most of the time you're not gonna deal with this

but the more tracking you do in anything

you're gonna need to find to some of this stuff

but at this point

I'm happy with the solve

and I'm just gonna go to Camera Tracker

and say solve Camera

and it'll take just a second

not nearly as long as tracking the features did

it's gonna take about 20 seconds

and no one actually has a

reference frame is equals 1:45 oh

it's solved

I had an error

it solved okay

so it does give us our total reprojection error of

1.56 speckles

which is doable for what we're using it for now

I'm fine with that

and so nothing changes

cause we're still just looking at the camera tracker

so we actually haven't done anything yet

so the next thing you do is create a scene

so as soon as I do that

we have three nodes that appear C node

a camera node and a tracker point cloud

so we're just gonna click on seen and press number one

and now we're in our 3D environment

and our point cloud is being generated

and you can see that we are now moving around our point

cloud so if we lock to our camera

I'm just gonna change this camera name to cam

underscore Anna

which I like to do um

anytime I'm gonna use this camera to render anything

any camera any camera nuke is just a habit

I've done this way since I was

I was taught this way 10 years ago

and I just like to keep it this way

so that's good to know

so I'm gonna change this to came in

I'm gonna lock to my view

and just kind of go through and see what we got here

you can actually see looking at through the camera

although just like a bunch of points

you can see that there are some shapes

taking place here

so the top of our buildings here

our little um

bench or whatever that

structure was on the sidewalks right there

and our rounded buildings over here

and our sidewalk and cars over here

so it's we got a good scene right now

and I think if you when you

this is the one place you'll really notice a difference

when you run this through a distorted plate

you'll see that there's some more phantom points

in places that they really shouldn't be

there's really nothing there so okay

so we have our saw

we have our point cloud

and we have our camera

let's go back to 2D view

and let's change our default settings to HD

to make sure we're getting the right data

okay so one thing that I like to do

although this camera actually does a pretty good

job of defining the ground plane

we're actually already like it

pretty much where you wanna be

uh there it is important

you can define a ground plane um

it's not so much important when

you're working by yourself because you know the shot

but when you're working with others

you wanna be able to find a plane of the

of the ground

so we know where to put things

we know where to place things

we know what aren't the camera

so what we wanna do is see if we can find points

there's enough points that are the ground

so let's click this

this is on the ground

and I'll shift click this one

and these points are on the ground

so let's click these

I can move frames and select more points

let's see I think those are the only points that

are actually on this piece of ground

so let's just right click on this

and say ground plane set to selected

so there's our ground plane

and this will reorient the scene based on

the camera tracker data which goes through here

so now we look through a scene again

although it won't change much

we now have our ground plane to find

in the scene

so if we unlock from the camera

and that's what this button does

locking to and from the camera

so when this is locked and I move around

you'll see we don't really get to move around too much

and if I unlock and hold down control

I can rotate around

held that all same thing

so that's the difference

so now you can see that because we chose those points

every single one of those points

was orientated so that it's on our ground

our zero or on the ground plane

and I should have shown

you what it looked like before with those points

but that's okay

these are their ground plan

they're all exactly intercepting the grid

and they were probably pretty close before

but now they're definitely intersecting the grid

exactly so anything we place on here

will be on the ground now

so if I throw in a piece of geometry

just make something

let's make a

make a cylinder

and let's bring it way down in size

and you'll see that it's

spliced through our ground plant

so just bring it right up

so that it's right on the grid

and let's bring it back in Z space

and because we defined our grid

we didn't have to do anything else

I'm just gonna make it a little bit smaller still

and make sure it's

directly on the ground plane

which does appear to be

okay it's in camera view

okay there it is

and let's go ahead and throw color bars on it

just so we can see what it looks like when we render it

add it to the scene

and hit I'm hitting tab

I'm sorry hitting tab to go back between 2D and 3D

and let's add a scale and render so we can see this

so when you add a scale and render

connected to the object

scene arrow goes to the object scene

object or the scene

and then our camera

and as long as you um have your settings set properly

which is what we did just a second ago with HD

you don't need to connect anything to the background

um of course if you wanna see what it looks like

comp on top of the background you certainly can

so let's make sure we connect to the lens distortion 1

otherwise it won't be tracking properly

and although I'm on the ground playing with my cylinder

I put it too far to the right

so it's actually not gonna be on the ground because

or not appear to be on the ground

because I moved it too far to the right

so let's go ahead and move that back in

and let's move it a little bit

short hits of Z is gonna be facing us

and bring a closer to us in camera

and now if we play through that

it should lock to the ground pretty well

and it is

okay so then that's

if you're gonna put this thing on the ground

and you don't necessarily have points

way back there on the ground

so we just by defying the ground plane

now we can put anything on the ground we want

we know exactly where the ground is

but we don't know necessarily where

say the top of this building is

we go down further

so say we want to put an item on top of the building

it's not as easy as that

cause we've only to found the ground plane

and although we know where this point cloud is

we don't actually

we don't wanna have to hand

you know go find out which exact point this is and then

copy its math somehow

it would just be too annoying

so we need to find

out where that point is as quickly as possible

so I'm gonna open up the camera tracker again

and you'll see that this feature is actually

one of our tracking marks

I'm gonna right click

and say create and I'm gonna have a create an axis

and this axis is now created on that point

as you can see there so if we move through

take a second to buffer

you'll see that axis is stuck there

so now we can put any piece of geometry

attach this axis and it's gonna be mapped right there

now if you want something

already created instead of an axis

let's go ahead and delete that

let's click that point again

and you can say right click create

and let's create a cube

and collect that cube to our scene

connect that to Color Bar so we can see it

and it's way too big so let me just scale way down

okay close that

and let me close our camera tracker

so we can just see the plate

and the scale and the point cloud

and let's play through that see how it tracks

so there we have it just a right click

we created our cube and there it is

I'll just play a few a few frames there

and I'll go back and make sure it does track well

and there it is

this is a very brief overview of

1 distortion of camera tracking

and honestly

we can spend an entire semester

just going over these two notes

especially the camera tracker

um and since there are camera tracking classes in

FXPG that are cover whole term

that proves the point that there's always so many ins

and outs with any kind of camera track

and it comes down to really

the more information you have from set

the better and easier it will be to track

and also the more tracking markers you have

and you know

Fusion Blue screen is their tracking markers

not only on the screen

but in front of the screen so that we can see parallax

things like that

there's lots of ins and out to camera tracking

and there's nothing

there's no one gonna be able to cover all that

in this wholesome in this whole semester

let alone in one class

so I'm just walking through a

couple of the other gimmes that

are gotchas

rather than with the camera tracker

so most of the time

when you have a decent shot

you're gonna be able to follow

the steps we did in this class

and you're gonna get a track

especially if you can get the lens distortion done

if you can't get that done

um it's gonna make a little more difficult

but not impossible

so there's a couple of

the settings in the camera tracker

so obviously

by doing lens distortion

when we did it

we had to run

the feature track twice

once for lens distortion

and once for camera tracking when we did image analysis

so to avoid that

you can actually undistort the

the image in the camera tracker

so you can just say

unknown lens

lens type is spherical

that's correct

instead of anamorphic

and click undistort

and it'll actually

undistort the image

and use the features to um

track the camera

so it'll actually undistort for you um

the reason to do this inside the tracker is

really feeling gonna work alone because then you know

you don't need to worry about the distortion

and if you're also not gonna be putting a CG in

you're just gonna be doing stuff in 2D and that's it

then there's no reason to really not do it this way uh

however it's just when you're working with a team or

you're working on a bigger project

it's always good to have its own lens distortion tool

you can see the results easier it's

you know for sure it's working

cause you can check it um

and it's just a little bit easier to do

plus you get a lot more data out of the distortion node

you can actually apply to a 3D card

you can do a lot of different things with it so um

and we might talk about that later in the term

but just so you know

when you're in a rush you can do

have the camera tracker do the lens distortion for you

now there's another note that are tab

the scene tab

this allows you to change

the translation order

rotation order of the scene

you can actually change the whole scene

so if we wanted to make this thing bigger

for some reason

now the scene's monstrous so if we had done this now

let's go ahead and take a look at our scan right here

so our cube went away um

let's make this 111

wow this is nice and big

so now if we right click on one of these points

let's pick a different point now

and I say create cube

that cube is gonna be extraordinarily tiny

once it's plugged into the scene

instead of being too big like it was before

as you can see

there it is

we can barely see it

even though the uniform scale still 1

so this can be useful when you want your scene to um

you know be able to bring in geometry that's

closer to the right size out and do anything

so the bigger I make this

obviously the smaller the cube will get

so if we just go to a uniform scale of 10

and let's go ahead and delete the cube

I just create and do one more

on this will do the same point

and connect to our scene

so there's a little bit more of what we'd expect

so the uniform scale is 10

and now our cubes are coming in

closer to a normal size and not filling the frame

so those are just useful things

you can rotate the scene

do things like that just to kind of orientate yourself

so for example

if I wanted this built the face of this building

this is gonna be the heart of my shot

this is gonna be where I'm gonna put a lot of stuff

I may wanna rotate the scene until this

is the ground plane or just select points on this

and call it the ground plane

and actually when we do that real quick

that'll be kind of a fun little experiment

so just click on a few of these points

let's go to a frame where we see more of that building

and the good thing about this

you can you can constantly

reset the ground point so let me just

click on a few of these shift

shift to try to pick green one

so I know that it's good tracking

anywhere on the face of this building is gonna be good

I can also drag and select

so if I have a couple of those I know are good

or a couple tracks I know are good

I can do it that way

again try to stay to green ones

just can you can get a better result

it's like that

so now I right click and say ground plane

set to selected

I've now reorientated my camera

so if I hit tab

you'll see my scene is now completely changing

the angles kind of confusing in a lot of ways

and if I take this away

you'll see that nuke did the best it could

to make that the ground plane

not nearly as clean as it's not the ground plane

I probably picked a couple bad markers in there

but it did do its best

and now I want to

put things on the face of that building

it reorientated my camera

and everything based on that building

so although it's not going to be a perfect

perfect mix

it is something that can be used

in that kind of situation

but ideally

if you want to make it the ground plane um okay

so let's see

um everything else in here

I mean I would definitely look at the manual

there's there's lots of

ins and outs and and tweaking that can be done

with the camera tracker

I did hit on the all the major points

and I would say 75% of your tracks are gonna

be able to be done with what I described today in class

I am hoping for lots of questions on the form

because this is new tools

not just for you

but for me as it just came out

and I look forward to talking more about it

and if there's more questions this term

I'll certainly

be hitting up

so those questions

not sure on the forms

but if there's enough demand

I'll do it in class as well

and just one last thing in here I didn't talk about

which I'm not gonna go into

you can also add user tracks

so although

usually Nukes auto trackers gonna work great

if there's any points that you know

or you can track well

and maybe Nukes Tracker just can't get enough points

you can hand track using the tracker

the regular 2D tracker

right here and import tracks

into your camera

so once you have some tracks done in here

you could literally

say add user track and you can import

um tracks into it

and you can also import user tracks and

use that to define the camera

so that can work as well if you have a really

really really difficult track and nuke just can't get

the auto tracker can't do it

so that's good stuff to know about and um

otherwise that's it for now

I guess and

look forward to hearing your questions in the forms and

seeing you guys give it a go with this shot

it's a lot of fun to do

a lot of stuff you can add to it after

once you have the track

so I encourage you to experiment

and that look forward to see you next week

where we'll be covering gizmos

and a little tiny bit of Python

that'll just be enough to get you started

and start creating some of your own custom tools

thanks for watching and see you in Week 3