NATRON: The FREE robust alternative to NUKE & AFTER EFFECTS | Film VFX | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

NATRON: The FREE robust alternative to NUKE & AFTER EFFECTS

teacher avatar Film VFX

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (2h 46m)
    • 1. Natron course introduction

    • 2. 1. Quick compositing

    • 3. 2. Natron vs Nuke

    • 4. 3. Configuration

    • 5. 4. Interface

    • 6. 5. Tracking: important during production

    • 7. 6 Tracking post production

    • 8. 7. Color Correction & Grading

    • 9. 8. Rotoscoping

    • 10. 9. Green Screen Keying

    • 11. 10. Free Plugins for Natron

    • 12. 11. Render

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Nuke is the industry standard in compositing Visual effects, but it costs a lot.

Natron is open source and Free, It has the same interface, same workflow, similar nodes and and functionality.

By learning Natron, you are also learning Nuke

You can apply in Nuke everything you've learned in Natron, from day one, even if you have never opened Nuke before. Natron is the Free Nuke alternative.

- You will make your first compositing in 10 minutes

- You will navigate easily the interface

- See the huge similarity with Nuke

You will learn:

- settings for a faster workflow

- Tracking and Screen or sign replacement

- Color correction using several nodes (Grade, ColorCorrect, HueCorrect, HSVTool)

- Rotoscoping to target an object and for example change it

- Use Rotopaint node to duplicate or make somebody disappear from your footage

- And of course green screen keying

- You will also add more free plugins to Natron

- and you will learn how to render

This is an opportunity to learn 2 compositing applications in one course, and add, using a free application, the power of node based compositing, the industry standard.

Meet Your Teacher

Teacher Profile Image

Film VFX


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Natron course introduction: nuke is industry standard in compositing visual effects, but it costs a lot. Nay Tron is open source and free. It has the same interface. Same workflow, similar notes on similar functionality. By learning nature, you are learning nuke. You can apply Inuk everything you've learned in a Tron from day one. Even if you have never opened new before, nature is the free nuke alternative. You will make your first compositing in 10 minutes. You will navigate easily the interface. See the huge similarity with nuke. You will learn settings for a faster workflow tracking on replacement color correction using several nodes. Rotoscoping to target an object and, for example, change it. Use roto paint. Note to duplicate or make somebody disappear from your footage on. Of course, Green screen Keen. You will also add more free plug ins to nature on, and you will learn how to render. This is an opportunity to learn to compositing applications in one course and after your workflow. Using the free application, the power off node based compositing, the industry standard 2. 1. Quick compositing: we will start very differently. We're going to go directly into a compositing exercise and we will get a final result on only then will come back and expanded into phase and introduction to the nature on and everything else. Okay, let's do that. It's gonna be very quick. Very fast. I want to composite, um, the shot off. 12345 Children levitating in the air with this background over here. Where I have a lake. Okay. And I'm gonna put a rock in the foreground. Okay? I'll select all my foot agenda. Put it in here. Drag and drop. And this the windows interface. Now I have one too. 345 kids levitating in the year. Okay, this is this was here. It's is a rock. And there's a background. This is already brick it. Okay, so it was green screen and removed. Removed the green screen just quickly for the purpose of exercise Now. Okay. So what I will do is what you notice this connected. So that's why we're able to see here. What? I want to do it. Just merge all of these together like I want them all in the same image. So I need something I just tapped. Sort of clicked on the press on the tab button in the keyboard to get this list. And I write, merge and I press under and I get this margin note. Okay? I want to merge all of these things at once. How do we do that? We'll be Sounds like a background. Let's do that. Onda. Let me connect this viewer to here, and then I want to have the foreground, so that's gonna be something like a Okay, So I will I will, um, organized first, my foreground by distance, from the camera. So this is the furthest one, and I will start by the furthest one. Because the last one you add is the closest to the camera. This is the furthest one. These are about the same than this one, and this is the closest one to the camera, and then we have the rock. But then the look, I'm gonna put some what? Some somewhat step separate. Okay? Because I want to do some additional work on it. Good. Let's connect this. I go to a and select connect this one. I get a message warning about the frame rate. I will discuss this later. Okay, But now we just want to go smoothly and fast with the composite in. So I just have this one and ignore this one for now. And you notice every time every time I add one. So a four and then I get a five. If I collect a five, I'm gonna get a six somewhere Here. Okay. So every time you connect one, you get another on additional input. Good. Okay. Well, I can add the rock now, but I want them to be in the right place. Okay. Let me just put them first in the right place before Iraq. I want them to be levitating somewhere in the background there, somewhere above the lake. So that would mean I need to reduce their size too. Gave the impression of distance from the camera. Let's do that. Reducing is a transformation. So I'm gonna need something like a transform note again. Press on tab and right. Transform and I will press control on connect to this. Okay. You don't need to dio to press him control on connect every time. What? You could do it. Just press on the the note on. Then you go tab, and then you get the last note that you've used automatically, and then you get it here. OK, so we're going to do the same. I'm just gonna give a little bit of space between these nodes. Uh, this way. Okay, So same thing. Tab Transform connected. Tab, transform. Onda transform. Good. I then go to the last one. Well, every time I get transform and when this is selected DoubleClick's I get this schism over. All right. So let me go to the last one on Aiken. Move him around or here in. Ah, double click. I get the perimeters. Well, I just need to make him smaller. OK, so that is gonna be something like scale. Let's go with that. I'll try 0.1, because I need him to. It was really far above the lake. I can't see him now because I've got the other kids. But that's fine. That's kind of the right place. Then I moved to this guy off hair on. I'm going to move him a little bit. Todo writer skin him down to 0.22 maybe. Yeah. And then move him somewhere. here. Can you see him very far. Okay, that's him. All right. And then I come here to the girl and I reduced her size to about the same and then moved her to the left. And I'm gonna go to the other girl, reduce her size to appoint to probably five on but her somewhere here. Ba tire. It's It's interesting to have some sort of overlap between people if they're just to get to give the impression that actually, they are, you know, give the impression of realism. Okay, If they're all separate from each other, it's going to be well, it's just better. Okay, just better to have it. So I prefer to have this girl a little bit in front in front of the other. And what we see is the, um her feet are covering three others face, but they are going to be moving around, will be levitating. So it's all OK. Just just the first rain. But I really like sometimes to have this kind of firm is just on artistic choice. Good. Let's go now to the last kid and it's the guy over here. It's fine to have in the foreground. but I don't want him to be that close. So we're going to reduce the scale again to zero points. Three ish. Let's push, Push him even. 0.27 All right, something like this. You could bush them even further. But I prefer to do it to keep it like this just so that you're able actually to see the kids. I'm not sure how much of the screen are able to see, but I want you to be able to see them levitating in here. Okay, So now I can come and adjust their position. Just double clicking on the trust form. This is fine. This is fine. Probably the kid here could move a little Teoh a bit above. All right. Something like this overlap in is always good, is always good. Okay. Probably this one doesn't have to be. Not far. Should bring him closer. Yeah, Cool. Nice. Ok, um well, do I need now to do I need to bring in the rock. Okay. What? I've done what after I need to have a reason to explain a few notes. So I have done a bad job about the rock to justify using some additional notes. This is our rock. And I'm going to add with e six a six over here. That is not the six. That was a three. Let me just try to get my A six. Well, I'm gonna move this one a little bit around to get my six. Okay, this one around, this is my A six. And I connect that same story about the fame rage. We will talk about that. Okay, stop that, Will. You do, actually, in the beginning, but I just wanted to dive directly into a compositing to show how easy it is. Here is a rock. Very badly. Got. Well, I want to have the limitations to show you how you can manipulate things. I can only as you can see, because it's very badly got from here. And this is rubbish. And this is all very badly cut. You see the white line here, the white border. I could only use the top part here on this side. Well, this means I need to, um, do something about I need to minor it. Let's first transforming assist. Let's first reduced. Or should we start with what? Murdering. Let's just start with my run, my roar my role on De so this way you can flip it right? All right, there's vertical flip or horizontal flop. We're gonna go with the horizontal flock and then comes our transform as well. I'm gonna being transformed earlier before Okay, just transform Onder. I, um, bringing it here. I just want one with the rock to be in the foreground just to create some. Well, just what a stick choice. What? It I am Want to cover a bid? These, um, these, um I just made it around here. I want to cover these very saturated hurts like I've got some saturated green here. I know I can work with the color correction owed, but for now, it's just a composite, including thing. OK, I'm going to make it a bit bigger. 1.1. What point? That that should be enough. That should be enough. 1.1. Okay, So what do we have now? We have something in the background. I'm just move it a bit up. That is it. So I only used what I needed to use on the rest. The rubbish is hidden down. Well, I had to come up with something bad to justify the use of for Mirer. Justify the use of again off transform on Because stuff that is in the foreground when you feel many and you have the kids in focus, you are going to have this one blood, and you can have the background blood. So I want to blur this one. What do I do, Danny? Just come here and stop, um, pressed up and write Blur when we get a blower on, Let's say just dry in here, then. Too much to Okay. Three. Actually, I'm just mimicking the behavior of a starter. Okay, for beginner. Just to show you actually, how easy it is for somebody who would Who would want to start. Okay, size three should be fine for Blur. And we're done. We are done. Okay, Finished. So and we've done this in a little about 10 minutes. All right. Obviously, the purpose of this exercise is not the composite in itself, but to show you how easy and simple aren't visible, it is to work with compositing with notes 3. 2. Natron vs Nuke: after the quick compositing exercise, it would be much easier for you to follow now. Now we talk about the interface. There's this spot here, which is the viewer down here. The second section is no graph where we connect a few dots and we get the final viewer, which is then visible here on the right. Every time you double click on any note you get on the right here, a list of four meters that you can tweak but having to noticed something has changed in the screen. This is not NATO on this is New York studio. Let's go back to natural Aunt noticed that huge similarities between yuk nature on yuk a nature on not only the interface viewer node graph Club editor Dope Sheet Properties Viewer No draft curve Editor Dope Eat properties on the recall list of notes here Image Draw time Channel on more color image Draw time Channel color on Every time you go in there, you've got some of the color correct color. Look up. What else? Great. It's just be to you, cracked saturation. Let's go back to nuke Call Norway's color. Can you look up color? Correct Grade. You correct. It just be to saturation. For the most part, they are very, very similar. Of course, there are differences. Nuke has some paid plug ins, additional plug ins, but NATO on has some notes that try to mimic a little bit the functionality. So you get different note, but you get similar functionality. So what does it really mean for you? The fact that nuke the fact that nature on is hugely similar to nuke in almost everything. What it means is that by learning NATO on you are automatically learning new to the industry standard in compositing in high end films. What it also means for you, especially if you are and after effects user, is that you can add to your existing compositing skills with layers. You can answer that the note based composite in method, which is the workflow that is used in high end films. You are going to be able to do that for free with an open source application that is almost like a replica off nuke. Well, not exactly. There are differences, of course, but for the most thought, it is the same. You only have winds with NATO on you get a stronger, more powerful, more visible workflow by using notes, and you also get to work with the industry standard due to the similarities. What it also means for you is that if you learn, if you know how to do something in nature, they learn in nature and you open you for the very first time, you will be able to do it again exactly the way it's made in nature. For the most part, notes are called the same thing. Read, Transform Merge! Viewers read. Just form merge! Viewer read transformed Mirer Blood Read new cleats and additional load. But we'll talk about that much later. Transform Meyer a blur and then merge. You have exactly the same workflow. There are again only wins with nature on by learning NATO on you are learning yuk the industry standard. 4. 3. Configuration: Well, now that we have seen a quick compositing and we have seen the similarities with Nuke, we're going to stay with nature on from time to time. We may look at Newt for reference purposes, but we won't rule. Stay with nature. Let's start from the very beginning. OK, we go to the website where we can get NATO on the cross platform. Open source compositing software up here. You have your download on you get the version on get diversion. That works for you. Andi. Also, please consider taking project examples, especially if you don't have your footage. Teoh A practice with They give you, um three. Um, protect examples on, especially the 2nd 1 the spaceship. So these are quite useful. All right, so when you download these on install, it's quite straightforward. You don't come to nature on Well, let's start again with nature on from the first step. It's not the interface, it's installation's quite simple. It just follow that and you open it and that's it. But it's the configuration. There are a few things that you need to be a wear off, and you need to change based on your needs. We were started configuration. But to be able to understand that configuration change, I need you to understand how nature works. Note based Compositing in nature is such that nature never Recalculates the same node twice . But that is a good news, which means it is going to be much faster. It's managers resources properly. This note was has changed. It is cashed. It is saved. The result off the node, not in total, but each node, the result of it, is saved in the cash. This way, if I come here and change only the blur, it doesn't re calculate everything to show me the viewer. It just got Recalculates. The blur. All of the other untouched notes are saved as cash. Okay, well, that's a good news. That's great. That's faster. What does it also mean? What it means that it saved somewhere. Okay, it saved in this In the cash. Well, we have a specific tub here in the interface and the menu that say's cash, and it's starting clear this cash clear playback it burn out. Clear or cash clear plug ins were clearly there's something about clearing cash that is important to have a menu just for that a menu item? Just list for that. Well, you are going to work with a few videos, right? Quite compositing is about bringing many things together on creating another. A new thing. This means that on. And it's going to depend on how big your footage is. Your video for working with four K, several of them or a K or a fuse in heavy files. It is going to cash this stuff, and if it does cash it, it means the cash is gonna be growing up quite fast, depending on your footage. Well, you want to be where? Off a perimeter? Not here. But the idea is not to keep working and every time clearing the cache. This isn't approach. I would recommend how to commit that. You come from the beginning to the edit preferences and you go to the tab cash in. And here you set your parameters right so that you don't have any problems down the road up . I don't expect any problems there. Such is just the already of that. It's going to use the cash. And once it reaches the maximum, it starts deleting the earlier cash. That's all so two main perimeters here. Disk cache path. Where do you put that cash? If you have two discs to internal disks and you'll computer, one is mainly for the operating system and four applications, and the other one is for data. What I recommend you put in the data one. Not in the operating system one, but but because this is a reading read time from the cash. If you're playing, it's reading from the disc from the cash and not calculating it on the fly. It means the speed off your off the disk where you gonna put the cash matters? So if your second cash sorry if you're sick and disk where he put the cash is only 5400 rpm's rotations per minute, that is one thing on if it is an SST, it's another thing, while if it's somewhere in between 7200 rpm's, that's a bit better than 5400. But it's just something for you to take into account. Okay, that is the 1st 1 The second part is the percentage off the rum that it's used by default. It's 50% now. You know what you could absolutely work with the default values. But be careful that if you only have one disc, it could go. Okay, Not one this. If you by default, it goes to your C drive and I would recommend you don't do that. So I want you to consider changing this one. But you could leave this one as is as default. Just you need to understand what it is dependent on your rum. In my case, here it is. 32 eso. It's taken about 16 50% waters, 50% mean when it reaches 50% it is going to start deleting the earlier caches off the notes that were calculated first. That's what it means on it means that when you are going to make a change, it's going to recalculate them again. Okay, so just to be aware of this, this is an important thing for your speed off processing for monetary resources. 5. 4. Interface: the interface off nature on the very first thing I want you to worry about is project settings before you proceed any further, because let's see where to find it. Display show perfect settings. This is how we find it. And then or you come here nota graph and you top s and then you get project settings. Okay, because this defines your technical specifications for delivery. You cannot get this wrong from the start. What is this? This is the outperformer. This is your frame rate and all the settings that you need to deliver. What you have here is a list of settings. Now, let's assume list off up performance. Let's assume you do not have what you want in here. What you need to do is what simple. If you have shot something with your camera on your camera has the settings for delivery that you want. Then you just bring Just bring in the file and, um, come here, of course, connected to the viewer. Come here. New format. It's copying from viewer number one. Or it could be any other viewer. If you have more copy from and put the name off your custom. Former Okay, so this is in case it is not just sitting here. This second bit is gonna be the frame rate. The frame rate is very important because that depends on the region for what you're delivering. Its 25 is 24 29 point something. This is important. And this is not set automatically, because when you bring in a footage, I did not say, for example, frame range 1st 02 on the last 696 I didn't said this one up. I didn't put this manually. So what happened when I imported the 1st 1? The project took the frame range first on lost from the first footage I brought him. So this is how it will set. But this is an image sequence. It does not have a frame rate. Information frame range is frame rate is here 24. So be careful that you need to change it to whatever works for you. If 30 if it's 25 this is your technical delivery requirements. OK on. You need to change your incoming footage. One of you bring in your import if you change the frame rate for that. Okay? Because we have talked about it during the compositing and when I connected a few, we have that warning that the frame rate was different. So this is what it was about. The frame rate in here. Good. Now, um, the first bit is the outperformer. The second pit was the frame rate, and the third bit is the frame range. And I said it was copied from the file, but this doesn't have to be the case when it comes to your read. Now, this is project settings. The project settings can be this long, or you can dream it to less than that, because initially, when you have a film, you have the clapper board time you have the action is me is being mentioned there, and you also have cut. You don't need all of that when you are working with the, um would a file. Okay, so it's you mean you're not getting it straight from the timeline getting it straight from the camera in the time that you would already have got three spots. So take the frame range that you need on on Lee. The frame range that you need when we're talking about important in the read here. Read. Frame range. First frame. Last frame. Just select the ones you need. And this way, when you come to the project settings, you only use what you need. Okay. All right. So this is the first bit, most important project settings. Now we're gonna move to other things, which is important footage. How do we import footage in here? How did we get this stuff in here now? Of course, you've already seen in the composites and quick compositing exercise that have just drag on dropped this. You can do it all the time, any time. But I wanted all sorts of point out that unlike after effects, if you are coming from after effects and like aftereffects, this doesn't work with important. We're exporting. This works with reading and writing. So if you come up here file, you will not find anything import and you will not find anything, Export. It's all about project. It does. It does nothing else but project new project open. Everything is about projects here. So the mind set in a note based compositing is everything happens with notes. So you want to bring in something is gonna be a read node. This is why this is called read and is called Read. And the opposite afraid is right. Which means when we want to export, you're gonna need a right note. It needs to be so okay to stab right. You got it. This is your right note. And it has you. Okay. Save sequence. And you need to put the file name on the extension and what not. Okay, good. Right. This is how it works. Read Enright and notes. Okay. Where do you find them? What? You can come here and tap, and then type read, or you can just use the shortcut are okay, Or you can come over here and I would recommend it to be the last resort to come to the left and select image and select trade because there are some notes you are going to be using so often you don't have time to go and grab them from the list you're going to be using. Read very often. You going to be using merge very often. Going to be using transform. Very often. Going to be easy, roto. Very often. So these things you want to know the shortcuts for or simply come here and right tab on press tab and start writing them. Merge. I think you're most likely Course of action is gonna be the tab. Unless you really are going to use thes four like 1234 These are the most common was, Of course, if you're using very often blur as well or any other. No. You want to know the shortcut for that? So this is M. This is T. This is Oh, this is our And then Roy is gonna be a w something like that. You cool? All right, so now that we are talking, have talked about important and exporting, I would like to bring your attention to draw your attention to the full win. What do we read? Watch the import. What kind of file? You're in compositing phase. It's a big different. The mindset is a bit different than when you are editing. When you're editing, you bring in footage from the camera. It's a video file. When you're working with composite him, you don't compose it. You're actually gonna bring in several files and you know, composite in only two D with two d. So this is a name in studio, right? You are also compositing to the with three D. But haven't you noticed that through this Max Maya blender, Houdini Cinema 40 All the three D packages. When you come to render, what do you render during the video file, or do you in there Image sequences? You get it? It's all about image sequences, So compositing is about image sequences. Okay, I will be used in some video files during the course off this officer train. But I want to draw your attention that you should be using secret sequences more often than not whenever you can. Because why is that? Because file support important in terms of important nature, um, supports list of files. And this isn't a limitation of nature on. I'm going to tell you that nuke has even a shorter list of things that it's reports. I mean, the paid expensive version Nuke studio. Let's go to next rodeo, right? This is nuke, and I'm gonna attempt just to import a normal, great normal move file. Okay, that's bringing no more flow. Okay, so I got an error. Um, let's begin. And all that same story ever. This is nuke. You would expect an expensive piece of software. Um, to be able to read at least dot more files that this I'm working here in. This is a Windows machine. So Neuquen Windows does not necessarily support more. And it also doesn't support X f m. Except is there sonny native format for cameras? All the Sony cameras recording Nxf. Now you bring in the next half, you get an error. It doesn't recognize the fall. The problem doesn't lie in the software nuke or in nature on. Let me try to bring in something else for later on. I have to show your support as well. Nature on. We're gonna go up, and I'm gonna try to bring in a red foil. Excels Composites in. No, this is not the one. I'm trying to get you some red files. Yes, Red footage. This is red raw footage or three day from red camera. Okay, um, when you bring in initially, you don't get an error, but is look a soon as you say. Well, this is connected one on. Did you just disconnect this one on his thought? In the timeline, If you move like this, you get read three error. Invalid data found when processing input. Now NATO on does not support read roll. It does support some other four months instead off. Why maternal these stories instead? If you're worrying about Oh, my file is not supported. Therefore, maybe I should not be using this software because it's frustrating. I need to move to another one. That is not the point. The point is, in the first place, you should be using image sequences and no fire for months. Image sequences are supported by any former and any software. Okay, so this is why I really find it in a Tron. A wonderful think that when you come here and you press are when you want to read it gives you it doesn't give you open sequence like you would get here in nuke. And you couldn't, are it? Does you read files? It really tells you exactly what you should do. Open sequence. You need to be working with sequences. Okay, so hopefully this is clear. We're going to move to the next part. The next part is about when you want to read, you're able to see what you are reading here. I mean, just go back to Moya. Oy! There's a nature on bitter. There's a composite in critics holes. Right? There's this here. You won't be able to know if if you have too many fires. Maybe it's not too clear from the sequences sequence. 010203 You just click on this arrow? Yeah. It's gonna give you, um a no idea off a preview. I mean, assembly a preview off the of the file. Okay, That is one. And one thing is, of course, we talked about bringing in the note from here. Read. You wouldn't do that for the notes that use very often. You would do it for other notes. And I really suggest you go on discover and explore other notes were going to be working with quite a few of these. Quite a few. But there are some others that I really wanted to just get in the habit off, just discovering them. Don't use this menu as your first course of action uses when you don't know what you're looking for, right? Okay. You're going to find that this is organized by category. The 1st 1 is image in. This deals with bringing in stuff on exporting it. Run writing it Mandarin. You also have some other stuff here, like the take a board, the core bars on the color wheel. I may be thinking this is redundant or useless. These actually come in very handy on the, um, constant constant is basically solid, like if you're coming from a from after effects, it's a solid. There is also solid here. There's also solid, but I tend to use the constant more often as a solid. Okay, So what is this? Let me just connect, um, the color ball it gives you call a bar and I think, What should I use it for? You may be interested in checking colors or any or something like this is like, for example, you're going to change to whatever color and use it as a background. Where is Michael Stunt? I just lost my connection, right? When you do, say, for example, screen replacement or you want to replace a banner, replace a sign. Sometimes you want to use a constant. Sometimes you want to use a checkerboard, for example, to see that there are no distortions when you are replacing. It is really handy and If you want say, for example, to work with huge shift, then it's handy. Also have the color wheel. These are inputs, right? It's like instead of having video father image sequences as input. You have this as input. Okay? And you couldn't merge or daughter They won with ease. They come in quite handy. Now let's move to the next. This part here is draw is mostly about rotoscoping. Another other pencils, right? This is about time and it zee it's time remap in really two things. This is shuffle and it's very useful knowed about color channels. So you're able to switch the green brew the red green blue on alpha channels and then we have here the color. Now, this is your color grading stuff. Okay, color, correct color. Look up. You correct you, which is V which also acts as a huge shift saturation. You've got quite a few notes in here, right? Then there is filter kier and the rest Okay, there's plenty off lists here is very important Now, this is when you when you want to keep blue screen Greece screen and you could also use them Actually two key, some other things but most often than not, it's gonna be green screen. All right, we'll see this in this in a later section. Okay? The next bit is to talk about the viewer here. Okay, I'm gonna take you to another protector. And let's look at this. You are sometimes go into need more than one if you are, because you can, as part of the interface split the viewer, come here and say Spit horizontal. I'm going to F two sentries. Yeah, I just used f in the keyboard so Andy could come here of a new viewer. And that's gonna create automatically second viewer for you here, which you could connect to anything you want. These are just viewers. So it's not like source footage and timeline. There is no timeline in here were just composited, and the output goes through the viewer. I mean, it's surrendered with the right parts. The viewer, the viewer that lets you see what you're doing. Let me connect this viewer to this guy over here. Okay? Got a child levitating in the year. What do we have here? It has already been keyed from a green screen and have already removed the ropes the kid was suspended by ropes. Um, we have here is you have the possibility to work on a a composite as well as individual fars separately. Now let's have a look at what we can do. You can view RGB or you can also view the Alfa because when you are key in your you're going to be using to to viewers. And one is 40 Al Fawwar for the green screen source. So you can see Red Channel, Green Channel, Blue Channel, Of course, the noisiest on offer. Okay, You also have the gamma, right? Let me just increase this a bit. Okay? Every time you make a change somewhere, it turns red. Which means that if you notice something is reared about your viewer, chances are you have changed something. So go to the red and click on it. It sets it goes back to the default value. This is gain. This is the gamma. Okay, we have already seen. Let me just increase this level. Would you seen, um I think we don't need this one anymore. Just delete a few as well. Close the pain. We have already seen this part, a B comparison and this project. And this one when we have these two together, right? So this comparison we've already seen it. You just come here under on you can use the wipe rights. Okay, You can wipe and same story with Turn in. Right. So that is one and then another bit is the region of interest. Let's see. Well, because this can be quite time consuming in terms of calculations, we know it's already doing its best. Nate Ron is not recalculating notes twice. We've said that. But if you're interested in just a part, then probably that's what you want to focus on. It gives you the possibility to do so to do that. Okay, so let's issue these two girls are the only ones we want to be focusing on the left part. And then we move. They drawn to the center, then remove later on to the fright passed. Then you are working, and Vic and Vikram visualizing just that. But okay, you can also dependent on how heavy or, uh, Euro food it is not in this case, it's not much, just HD. But if you work in, say, with four k dcp bound you working with several of them. Chances are you may want to work with the proxy mode. Now, this is an option. It's not necessarily the case that you want to do it all the time, but you may want to do that is activate this white thing. And when you come here, you have activates When his first activated on. Then it gives you reduction, reducing the resolution you divide by two. You divide by four. Well, let's see the effect of 30 to say it so pixelated. It gives you the possibility to work on this version. If it's lower, it's a work on a lighter version. This does not impact. Your final output is just viewing. Okay. All right, let's go back and see what other things do we have in here? Of course we have the timeline bit and you have the in and out. Now, this is the first. Let me go back here. This is the first part off the frame. Um, viewer, let me move to number one. This is un disconnect. This one, this is the first part of the first frame is zero in the last famous 696 Now weaken ourselves. Come here on to the read and change it. Okay, I'm gonna delete this one, Um, to the read on change. Dismantling you say? Okay, I just wanted to start somewhere like then Onda 600 for example. Now, this is one thing. Another bond, Which means that have you noticed here that it has changed initially was zero in on its then what happened is that this first frame, they didn't give us an error, because here it's a zero. But he says here then I'm supposed to be standing on 10 but on zero. Ignore it. Easy it. Because before you can define the behavior of before hold that means is going to freeze the frame for number 10 and apply it for 9876 up 20 which is also the gays for last frame 600. If you go to 650 you will find that it you don't get an error unless you want to. You can say show me error, but it holds and it keeps the last frame. It's up to you. What you want to do with this? Okay, um this is why did we talk about this? Because then we need to talk about this party now. These are independence from each other. You can set the in in the out. You can come here on and said this is in, right. How do you do that? You can either type. I I'm sorry. That was You can come here to, um, say 55 and you just type in Chris. All I all I it gives you the, um, in front 55. Now, if I want the six and 592 to be the out, it's gonna be out. Oh, and here I have defined the input, the input and output in out. Okay. Sorry. Not in putting up in and out regions, which is reflected here. You could also do that manually by typing here. Okay, we're here. Right? And you could go to a frame, say, 300 Gonna take us there. Okay, So these are the main things in the interface I want you to worry about. You have the curve editor on the dope, eat these arm or things that we're gonna be working later when we have some key frames and stuff. But for now, most of the time you are going to be working with the note. No. The graph. Another thing about the interfaces for the viewer when you come here and you want to see something in here, there are numbers assigned. Okay, so there's a one. Another's to a viewer can have take up to 10 inputs. Okay. So you can connect, then videos, then source files, then even sequences to one viewer. And you can have as many of yours as you want. You can add image on another viewer. Okay? Another viewer, if you want. Right. So it depends on your needs. You could say, for example, here have split horizontal. Andi, Another Spitter is Uncle Andi Could move fewer to here on TV or three here. Okay, Right. So we talked about the split, but what I would like to talk about now is the number assignment. So let me remove this. Um, Let's just keep it. We're going to work with fewer number one. OK? Viewer number one on its own. The move these wants to decide can take up to 10. So how do you see you can you can either connects like this if you want to see it in the viewer or you can do it different that you can come here if you are. And it depends on where you Chris trees. If you're Crestor is on the graph and no draft is one thing. If your cursor is on the viewer, it does completely different things. OK, if you hear And he said any top one then you have assigned to this source file number one. I click here on top too. Then this becomes number two here. Three full five, six, seven, 808 nine and then zeros for them. Okay, zero for 10. Now what have I done? I have assigned numbers. Yes, it's true. When I click in here, it shows up up here. But if I want to cool for the viewer to see something, then I need to be appear with the cursor on the viewer and then tap the number. I need to go see what I said when I did this automatically, I have the comparison between quite a few videos because in here, in the preferences this was left on, this is what could be annoying because I never intended actually to make any comparisons, so I don't want that safe. Let me disable this stuff in here. Those Spain, Spain on de zablit. So if you were number one of your three un disabled this stuff okay, so you can take up till then. And when you're here, you can come. 123456 You're calling 789 10. You are calling from the file to view it. But if I come here, what is this? Number one If I top four, I have just changed the assignment to four and one is vacant. So be careful, please. When you're playing where the numbers would work with numbers, your cursor defines what happens down here. You're assigning appear your viewing. 6. 5. Tracking: important during production: track in. Now, Before we proceed any further, I would like to discuss a few very important concepts that need to happen already during filming. So already during production phase, some things need to happen for your tracking during the post production phase to work. Okay, so during production, you're going to have you're going to need tohave the roll off vfx supervisor on set. It could be in again. It depends on your budget. It could be a person dedicated as a VFX supervisor or it could be a role. Somebody who does, in addition to what they do does uh, vfx supervisor. Okay, that is really important, right? Because on set, it's very important that the VFX supervisor role not necessarily the person, but the rule is present and preferably somebody who can. It doesn't have too many things to do, right? So if the budget is limited, that person should not have too many things to do. I'm talking about small productions here, very small productions. If there's a multi task in some, a person has several hats and you think, well, we don't have money to get of dedicated vfx supervisor. Somebody needs to do that because it requires some attention to detail. Now, what is the level of detail we're talking about when we talk about, um the just reset this to number one. This is gonna be one. Okay, When we talk about tracking, there are two very important things that we need to keep in mind. All right, I know that the VFX supervisor has a lot of things to worry about. Both for tracking purposes to our specifically critical are very critical. And these are the presence off tracking markers. Now, in here. Let me see. This is number four. There are not tracking markets. So should the camera move, it is gonna be really a nightmare to matchmove. All right, so a green screen without tracker is not a professional green screen in this case, this, um, video. The camera is not moving. This is a stock footage in the cameras, not moving, so it doesn't make a difference. But I wanted to get in the habit off always having the markers on your green screen. Even if the camera is not living. Because if after you decide to move the camera, then you don't need to stop on, then let's so if you remember it, because you risk to forget at the tracking markers if you move the camera. But even if you remember it, it's gonna be time consuming on time during production is quite costly. So from the beginning, please have your markers and Marcus depend. The location depends on the hate of doctors, the movement design where they moving. Sometimes it's preferable to have them outside the movement of doctors, but sometimes there's no choice. You need to have one. They need to walk in front of a marker. That's fine. It's like result plan B. It's OK, it's OK. You can paint it later, but if you can work with Marcus outside the zone, it's even better, right? Because you can remove them easier if you do it manually or if you're going to do it. The image based Kian way it's it's it's part of the deal. It's part of the package is to get removed automatically. Okay, it's way better, But if you have no choice, but you could have them have the actor move in front of a marker. That's fine. Okay, if you have, there's a lot of movement now. This is one. The markers need to be there. Let's have a look at some. Some more footage we have. This one is five. Okay, so we need to have markers this second bit. Let me just look sorry before the second, but let me just look at other foot is ok, We don't have markets. Seven. Another us different story. That's a different Solomon, come back here to number three. We don't have markers. Okay, so there are These are instances where we can have markers, but we don't have them. But what kind of markets would you have Any having here? Of course, it's not gonna be Manuel. That's gonna be part of the picture that you're gonna be displaying. And it just needs to be all sorts of circles and crosses and stuff and in different color, Okay, in different color to the border or sorry to the out of the background to the background where they are on. I'm gonna talk about the background in the second part, but let's move here to these ones. Let's see Number seven, for example, that sometimes it is not practical to use markers like in here. Okay, this is going to be one of the exceptions where you think the second rule is enough. Now, the first rule is you need to have markers for tracking. The second Jewell is coming. It could be enough in this case. Okay, on this is why the vfx supervisor the eye off the first production team vfx post election team needs to be present urine production to see and look at the shot. Yeah, okay. It will work on in this case, it will work. Okay? Yes. Let's have a look at other footage. Six. Okay, You don't have tracking markers. If you want to track this, you don't have tracking markers. You need to have tracking markers. This is where it is practical to have them. You can have them, but you don't have them. So what is it gonna be? It's gonna be like a small tennis ball. Generally, it's it's about you got a vfx set. Vfx supervisor said you've got the half bulls got the footballs. The white ones get the tennis ball style. If you have nothing, you just use half of a tennis ball because they have the Chinese not really shines just like it. That's an edgy green. It's quite contrasting. Okay? It's It's very useful. You could use white markers, you could use whatever. But the idea is that we need to have markers. Same thing applies to Shortland annoying. Here. We can use some existing things on the airplane, but it helps to have markers. Okay, so on. Let me have a look. Number eight, number eight if you think you can boot markets, fine. But sometimes sometimes this can act as a marker. All right. See, you don't always need to have manually added markers this convict noise marker. But do you need one or do you need more? That's another question. OK, so first part on the last one here is, um is the Yeah, you need same story as in number six and 10 is about similar same story. You need to have something that is in contrast with the background. Cool. Let's move to rule number two. And it's contrast. It is the most important rule when it comes to track in the 1st 1 is presence, of course, off markers. But let's have a look at this. Number five. Do we have enough contrast it? What do you mean by contrast. Contrast between what and what? Between the markers on the background of the markers. This is very important. Okay, let's have a look here. Number three, Do we have enough contrast? The The main point is you're going to find in some footage. I'm just showing you a few of these. Um, there's this one. It is number 52 and 452 and four. Uh, no. That is the wrong word. Sorry. Five, two and four. And there was not for that is 3523 Okay, 5 to 3. That's it. 23 and five. They all have the same mentality. The same way of thinking off. We need to have dream. There is no need for a green We need is a contrast IQ or what is this? This is a black border. Okay, so what should be inside here? White, not green. And then you need to have your markers. 123456 or nine. Or depending on how many units you could live with. Fault for if you want one here, one here when I want it. But it's up to you, right? Circles crosses, but the background needs to be contrast in contrast to them borders, let me have a look at number five. Number five. What do we have? Your same story? Here we have Grey. Didn't. Why would you have green? You should have white. Okay? Because then it contrasts with the border and it contrasts with their markers. It's come to number three. Number three is another example Where you think why I we use in the green? Because this is wise. Didn't. What would you need to have here is black. I know. Here you have some contrast. The edges. Okay? Somewhat. But you need to have black inside here. And then the markers need to be in white. Guess that white, black, white here. Black, white, black. Marcus. All right, so I wanted to get in the habit off not following what you see. Mostly used in stock footage or I'm a neat yes. Green is quite commonly used, but it's actually got purposes. Got affection. It's meant to be something like this. What needs markers. But this is what we use. A green screen, two key things. But when you're going to replace a screen, you don't need the green color because you're going to use a corner pin track up. And when you use the corner pin tracker you are. It doesn't really matter what kind of car you have, but it has to be income in wild contrast with the controls with the background. Sorry. With the marker on the background on the contours, Okay. On the borders. So got three things that need to be called trust. So I hope it is clear I've used a few examples here where it's done. I'll say, not wrong, but it's not ideal. You have some sort of contrast, but nothing wins the white on black, black and white. Nothing. Nothing wins that. You don't gonna get more contrast in black and white. Okay, so then the next part, we're going to go on, Take one of these. One of these image sequences videos are This is a video is a video, and we're going to work with this one, and we're going to track. Okay, 7. 6 Tracking post production: we will do now. The tracking for this video on. We have a tracker note there is stab tracker. We can do this and other track a note. Okay. And then when you double click, you get these perimeters. It is too early to work with the truck. And now Okay, So what I'm gonna do is just delete it. Why? We have said that there are two main rules for the tracker during production that we need to pay attention to so that the track in Duren best production works fast and everything is smooth. Okay, so the first step is to ask, Do we have tracking markers? Number two? Do we have enough contrast? And only then we can add the tracker note. So do we have tracking markers? Yes, we do. Do we have enough contrast? Let me sigh. I'm closer to know than to Yes. Okay. Because what we should have done what they what they should have done was just stock footage today. What he should have done during production is to have here white. All right, so if this is great, and if it has to be grey fine. What? Disney's to be white So we're going to for a bigger contrast. Higher contrast. I'm going to go for no rather than Yes. Okay. You could go for yes and give it a try, but I'll go for no. And we're going to change this to what it should have been during production White. Okay, so this is your first step. We're going to add a cooler, correct note you can use, um, other call direction notes, that color notes. But I prefer this one because it has the parameters I'm looking for. All right. What do we want from this note? This note is going to help us achieve the contrast we want. Is it just about contrast? No. We need first to remove all the colors, black and white saturation down to zero. Then we increase the contrast because that's why we're here for and then we go to to gain an increase. It in event higher. What do we see? We see a black border with a white background and black tracking markers. Your trucker is gonna love this. Okay, so now we're going to add a trucker. But wait. You may be thinking how the moments we have just ruined the image on. We're talking about tracking. What do we do with this? Like? Okay, fine. The tracker is gonna be happy. But what about the final output? Well, because this is an earth based. This is my original source. This sparked a is only for the tracker toe work. And I could connect the color one anytime I want. See, I can connect this one. And from here, move on with the rest of off the float. All right, so let me go back now here and let's add the tracker. Now we bring in our Noda and we're going to a few tracks. These are the prom meters. I want you not to worry too much about these things and come straight here and add the first tracker. Okay? You can tweak a few things here, but the default values What I'm saying the default values are okay to work with. How many tractors do we need? Two things. The mark is the one thing on the track has are another thing. You may have more trackers, the new markets, which would mean that initially, during production, you should have had more markets. What, in this case, there are only four markers. Do we need more? There is a tendency to overdo it off having mawr trackers because it said the more truckers you have accurate, the more accurate the track is gonna be. Not necessarily, if you do your homework properly during production and you get the right number of trackers on the right contrast, you don't need to have a huge number off trackers. Okay, so I have tracker. 1234 Right. We know today. Still it the start one by one. Okay, this is one going to split it here quickly. I'm gonna place it properly later. I'm just put it there, and I would put it in the right place. This is not the way to do it. I'm just getting closer now. Now I'm gonna zoom in to get it where it's meant to be. What's now? We go back, we select the 1st 1 is, um so I used this one a bit. Let's springing up to to move them. The image you used, the middle scroll wheel, the middle mouse scrolling. Okay. All right. And to zoom in and our system even Moscow. Okay. What you compress under a score relative it. All right, This is our pattern. And this is our region for search region. I am going to move this here. Not here. Here. We'll tell you why. Because I want to have my marker, all of it, inside the pattern. And if I move it here, I'm gonna get a bit of the border. I don't want the border to be part of it. I just want to be on the market. The border is gonna be taken care off by the search region. So I make sure that my border is included here. Just to say that I want the search region to include this part. Now, this is how I want to sit up and it's gonna be the same thing. I'm going to select a tracker. Number two. Bring it down here. Increase this one to cover the marker. Same story here. Cover the borders tracking over three quickly, the same thing. And I'm going up because I want to be away from the from the borders. Increase this to cover it. Done the same thing for the number four. I'm trying to put the daughter in a place where there is a difference. Really big contrast. And then have the full pattern included here. Good. Okay. Is this enough? Absolutely enough. Now we have given our trucker everything he wants. Tracking markers and wonderful contrast. So this should be quite simple that remember, please to select all of the trackers before you hit track. Otherwise, you may be thinking nothing is going on. What's because the track is not selected? We need to select them. When you come up here, you have truck frame by frame. We don't want to do that, do we? You do. It's once you want to do it carefully, like it has let you down, and then you want to correct it manually. Start moving step by. Step around, Driver, Go for track. Forward now. This is truck forward. This is frame number one. Actually, I'm standing on year. This is number zero. Which is what? OK, I'm in the at the beginning. This is the beginning. It doesn't have to be to begin it. You don't have to start from the beginning because you start where your markers are most visible. If it's in the middle or anywhere else, that's what you're going to start on. Then what you need to do is track backwards and come back again to where you have started on go to track forward. OK, but in this case is from the beginning, and I'll just click on track. Forward tracking has finished on. The next step is going to be to move to the transform tab on changed emotion type too much move and transform type. Keep it at corn up in because this is what we want to have a corner pin, right? Let me reduce this a bit. And Gina's on. We will see what we get here. This is a rectangle with some dots which clearly is a matter off moving them here. Now. We will not do this yet. There are a few things that we need to take care off before moving them. Okay, so what we'll do is I need you to come here first transformed up and then make sure that these are not too, but from All right, So we're going to come to overlay points and said this to from So these become now from okay. Before we start moving them to here, we need to disable something. There's these able corn up in this is by default. It is and checked. Er, I need you to check it, OK? Because if you keep it and checks and you move, it's going to stop. It's going to distort the image I needed to and check this on. Then we can come and start moving these boats. Where? David Long. Now, this is moving a bit slowly because of the your screen recording application as well. When you have the big background as well, I just move it like this. Get a bit closer. Okay? What I will do, I'll make a mistake here. Okay? Let me deliberately make a mistake to show you how you can adjust it if you need to. Later. Okay. So, all day, I'll just move it a little bit to show a bit of green, Okay? Because it was initially green Onda and to give us a reason to adjust it later. Okay, so the 123 is okay. And the 4th 1 is with a mistake. We're going to deliberately Okay. What have we done? We have changed it the moment you move these gods, you need to be aware off the frame. You're standing on. I'm friend and I'm standing on frame. 326. That is, um, where I've changed it. Okay, but the reference frame by default in your case is going to be one. Okay, The reference frame by default is one. You either make sure before you move these dolls that you are standing on one or it's OK. Just make sure wherever you're changing these doors, your whichever frame you're moving. These dos on, you're gonna use here reference frame. In my case, 226. So 326. Okay, so this is very important. Otherwise you're going to have a misplaced screen. Okay, so this is now done. The next bit is to export. We're going to export a corner pin, right? This note here is what was gonna get inside. So this is the content. So I will first bring in the content. But I have an advice for you. In this case, you can bring in already or video or your sequence off images, whatever you want to replace, Like to put inside. But I strongly recommend that you start with a checkerboard. You can find it here. Image trek aboard. This is brilliant for making sure that Let me show you what it looks like. It's a chicken board, basically. But when you do like this, this is very useful to check. Once you put your stuff that the proportions are okay, that the image has not been distorted and nothing is better than a checkerboard to check that. Okay, so I'm gonna come back to my trucker, make one here, double click on this, and I will add Emerge. Note. No, I haven't finished yet. There are a few things that we need to tweak, but I want you to see what things as we as we progress. So I'll just stop em for merge and connect the background to to the color image. Answer the foreground. A to the corner pin. Okay. What happened here? We did not set the frame rate right at the beginning. The frame rate of 25 versus 24 so I'll just under this. Okay, on. Come back here. What's the frame right here? 25. My project is 24. Anita changed this to 25. OK, so this is one of the things that need to happen in the beginning. All right, let's go back. Tracker. I'm not going to put a again to corner bin and we have a much know that oppressed one and were able to see everything. But what happened? Well, what happened is that we are midway in the process, and we can't see all of this, but we cannot see the checkerboard in the right place. It's OK. What we need to do now is to come here to the, um um corn up in and from the front ab. We need to set to input region off definition. Once we click on that, then we get the checkerboard right. But it feels in the full screen we needed just in the area we have selected, we go back to the tracker Onda. We disease able the corner pain. We just in check. Disable in check. Disable the corn up in because we just did that to make sure that the image doesn't get distorted on we click on Compute one cyclical compute. It jumps toe where it's meant to be. Okay, let's get a bit closer here. We have exactly everything as we wanted, plus the deliberate mistake we have made. Now What do I have here? I have to adjust this stuff. How do I do that? Quite simple. You just come over here a new push It. Okay, That looks a bit straightforward, does it not? Well, nothing changes. Okay, so when you push it, it's pushed. But you see that the screen did not update and I still see my edges. And if I render it like this, it will come up with the green edge here. So you need to remember to collect on. Compute the moment you can compute. It covers. It closes the gap. Good. This is how you do the tracking. Now you're able to change your checkerboard with any video once, and it's just a matter off placing it as the source instead of checkerboard. But this is a good starting point for you to make sure that you have the proportions, right? All right, good. Let me go back to the first frame on. We are going to play this now. Of course, you'll notice that this these dots on this rectangle is displaced. Not not the checkable. The check about is in the right place. But these are displaced. Why? Because they reference is at the end, 326. Okay, let me play this for, you know, actually, we just move, move, frame frame is first, and then play. I go box of the beginning. Andi, Quickly. Okay, that was it. Good. Okay. Now you can replace this trick aboard with any image you want. 8. 7. Color Correction & Grading: color correction in nature on before we proceed any further, I need you to add something to the interface place. Because when we talk color correction, we should be able to see the colors as well. Okay, so here down here will be adding here, split vertical and we will be adding a history. Graham So new hissed a gram this way. When we work with colors will be able to see what we're doing. And are the others explain to you a few things. You It would be better. You will understand better. Okay. Best number one. Okay. So where do we get our nose from? You have down here? The list of notes and everything has to do with color is in Here you go. Color cracked. Great. It's just v tool saturation. Quite quite a few, Hugh, correct as well. Eso part of units we're going to start with. Great. Okay, so let's start with great number one. Great. Um I am going to explain a few thinks before we move to the perimeters because, well, this you may already know it, but in case you don't, I think I should explain this. I'll do it briefly I'm talking here about the red, green blue and offer values that you see on the screen down here. Here When I moved with the cursor for every pixel, it gives me the values off the red, green and blue on the author with offers not there for a simple reason that when I double click on the read here output competent, it stays rgb If I say rgb A when I come back here, I will find my offer. They're but off highs equal to one which basically means opaque. Okay, there's there's no authentic footage. Okay? So I'll just get back. Teoh rgb That's in case you need. Awful. And what are these values? How important? Why should we even care about these? There is something about the range and everything you do has to do with that. Range is everything is between zero and one zero being black and one being white. No. Are their values less than zero? If you if you move in here, you won't find that money wolf on any actually. But there are t There are instances where values go below zero. You have negative values. These are what we call the sub blacks. So zero is black and you can have negative that sub black and one is white. One is once. This is the zero. And this is the one, right? 010 is, um, black. And then when it goes lower than zero, it's sub black. One is white and it goes higher. It's super white Now. The sub blacks and the super whites are not welcome. We want to make sure that our values stick within the range of 0 to 1. Okay, that is for a correct picture. Now, when we come to the great here, I have clumped black and clump white. Not to make sure that my values this is by default checked in. Um, by default, you have the blacks don't go lower than zero because this is if you want your rights not to go higher than one, then you need to do this as well. Ok, so just to make sure that we protect our values between zero and one, keep them in the range. Now we talk about the, um, parameters. Black point, white point, black white months of what is all this? Okay, this is why we talked about black values, white values, zeros, ones. This is exactly the point why I have to mention this before talking about the great note back points is basically zero here and why it is one. Okay, now when I increase this, what happens? The image gets darker. Okay, So what happens? Really, in the background in the background? The I am telling NATO on that I want the values off the pixels that have 0.17 to be converted into zero. Anything between zero on this value needs to become black needs to become zero. Okay, so it's like redefining the the black because most of the values are somewhere here between 0.5 and 0.35 40. Most of them are here. If you go just a bit like this, you've covered most of the image. Okay, so this is something to be aware off, writes Greek. And I say what he said, All right, white point. It's exactly the opposite, but it does the same thing, but that's for the white. Well, we have one if I bring it down from one, you know, I'm saying, can you please turn the values off the pixels between one. This time we're starting from one, not from zero between one on day 0.37 which basically covers the report. Nine Report A 0.70 point 61.50 point four up tails Europe on 37. All of them make them white. We didn't manage to cover much because I as I said, much of the values are between 0.5 and 0.35 But if you go any lower, you start touching the young. The other values are most of the values. OK, reset to default. Black. Well, this simply redefines what black is black zero or is black 0.5 zero 0.1. It's just redefining with black ears and here, redefining what white it. But what White is okay, I don't think you want to redefine black and white change in values. It's more like if you need to tweak the black point in the White Point. Monty of Life Multiply is taking any value of the pixel on multiplying. It's by this stuff in here. If it's too, then you are asking, and if and if the value of the picks of this 0.22 Then it's gonna become 0.44 Okay, so this is what really happens in the background. It looks like we're increasing the game. Looks like we're making it brighter. But in reality, in Bagram, that's what's happening. We're making pixels times to its values. Times to sh means it's going to be, um, light up. Okay, multiply by zero. Many sickly means. I just did this by mistake. That's a mistake, but it's a good mistake not to explain. Multiplied by zero, the initial default was one multiplied by zero. Means everything needs turned black. That's that's what it has done for me. You wanted Black. I give you back. OK, 0.5. I have asked for the values to be divided so it becomes darker. Let's go back to that one. What does offset do OK before we move to offset. Let me go back to Black points in White Point and explain what it happens in that what happens in the store grams, that when I come to offset you know what I'm talking about? Number one we have talks about are increasing the black point when you create the black ones. Can you look at the shape down in the history? Graham, What is going on? It is being sucked towards the zero, which basically means please make it's like moving all the pixels and make them zero. Not all of them as as I go up, it converts those that are between zero on this range. It's converted into black. Which is this funding? Zero. All right, same story. When I come to the whites, if I come down, it is being sucked by the one. So it's like that you have a vacuum cleaner on you, just sucking them right? But it comes. It's like they are being converted into one. So they have been sucked. Moved. Now, the difference with Offset is that when you move it, you're actually moving everything. The whole shape is moving. You're moving everything towards the white for everything towards the black, moving the whole shape, all the pixels on the last one. The Gamma. The gamma is, as you know, just acting on the midterms. Midterms means we're going to. It's like a hold into shape from the middle, and we move it. If we increase up, we are actually acting on the middle is true that this part has being shrink now. But once you start moving it, it's like holding it from the middle. Okay? Actually, in the midterms, Okay, enough about this part. We're now going to move to another node, and that is going to be the color correct note. Okay, let me bring the color. Correct. Now. Well, let's use the tub on color corrector. Right color. Correct. I want to use it with this footage. All right, let's connect. So this footage, I'm moving just a little bit like this. A bit closer. All right. Core correct. What is the difference with great. Like, why would you use color? Correct. Not enough grade. Culprit gives you way more possibilities because it acts. You can act individually on shadows on me tones. I don't highlights not only just on the master on the whole image, but you can adjust these perimeters. Same barometers for shadows, midterms and highlights. Now, before we start tweaking this to see what difference it does the shadows mittens are highlights are already pretty find. Okay. What? You get the chains to change them if you want to. If you want to redefine shadows and midterms and highlights. By all means, you can do that. Where can you do that? In the top. Here ranges. You have your shadows mid tones and highlights Where the midterms, where the metal is are the difference between shadows and highlights. In you could find Cheddars name midterms and highlights in here. Let me just press. Um okay. All right. Um, so when you select shadows highlights you. But by defining these by changing the definition, just select this this one as well. By moving this, you actually are also redefined in the midterms. Because it's what between what's between shadows? My assessment. 1,000,000 tons. You can this way, if you want. Really find them dependent on your image. There are some particular cases where you want to do that, but most likely they're not. You don't need to do this because then you can come and act on what? When you're redefined. Um, Rangers. Okay, now we don't need to redefine anything going to reset and come back to the control shadows , mittens and highlights. What can we do? Say, for example, for the shadows and they're gonna be the dark sides The dark parts of image. I want to de saturate them a little bit, because if I want to have this one like a more dark, darker and black and more black, I wanted to saturate it just a bit and increasing bit of contrast. Okay, I'm just acting on the shadows made of contrast and no gain. Now I need to be careful that I'm not hurt in my black details. All right? Found I will come to the midterms and give a little bit more saturation just for the midterms. Not so much. Okay? And I come to the highlights and give a little bit morgaine. Okay, so this is a little bit just a an example off tweaking that you may want to do. I just would used to gain a bit. It was a crazy you say. Okay, so before and after, let me just stand on the corner. Correct. Selected undone. Press d for disabled before, After before, After you can act individually on shadows. Midterms on highlights. Okay, now we're done about this note. We're going to move to another one. Let's move to the next nodal, and that is you correct? You correct? Is it. Just bring it with tub, You correct? Now this one is quite handy, very, very useful for many cases. But specifically we're going to take an example where we have a scene and there's a lot going on. But for some reason that blue jeans of this guy are standing out in the image yet they don't have a role in the whole story on you may be thinking, I want to downplay that blue. It's I just wanted to merge, to be invisible in the whole thing, like it's all about what's going on. It's what it's all about. The little girl crying. Her father died. It's all about what is going on around her. And it's not about the trials. Is, um so what we think is we need to just dog it. This one, you correct, is where you start targeting colors. Okay, withdraw the scope and you can target images, zones of images, areas. But with Hugh correct, you are going to select a particular value off you. So when we moved, just if you look at this part here, when I move with the cursor, it's already telling me what the values are. But waits. If I do like this with my mouse on, move away. It It is a place where is because I need to select it. How do I select it? I need to press control shift and then select that color. No, There. Have them back. There's district angle and the value is fixed. Now what can I do about it? I can do all of this stuff. I can act on the saturation luminosity. I can act on the Red Saloon on the greens, alone on the blues alone. I can see this is red. Suppress green, suppress blue. Suppress. I could remove the red, the crew move the green removed the blue and I can act on this separation threshold. What I want to do now is simply disintegrated. So what I do is when I do this, I get I get this some line with a few dots. These girls are just there to help me. So I am going to move them around. Where is this line is to here. So I need to be somewhere here. I need to bring this on the three dots. Want to be on the left? 17 The writer and want to bring it down. Now you notice the's Be careful with how wide this range is now. The wider it is, the more values off your image will be impacted. Now, maybe this is the look you want to go for by all means days. But be aware that if you only want to target the Travis's and nothing else well knows their exact values off Hugh on other objects, which I don't think there are. Then you gotta talk it just that particular value over there. I don't need to stand on the but it if you notice now, let me just is evil and enable Zabel enables able enable. Now there is some blue here, right, which is also being impacted. You can reduce this to have less of an impact on it. Okay. And now it is less visible. So the only bit is we're acting on the trousers. Gone, disables, enables disabled, unable, disabled. See the difference? I would bring closer enabled. Oh, sorry. Enabled It is able to enable disabled. This is where you think something is standing out too much or you want to bring something to the attention. Okay, so if you want? If there's an objective, there's a gun. If there's anything you want to make more obvious, you can come and give it a boost off saturation. A little bit off luminosity. Andi. Yeah, You just bring it. Bring it more to the attention of the audience on. That's one of the uses off the hue. Correct. Okay, now this one is done. Let's move to another note. And for this one, I'm going to come to this clip over here on I will change to another frame. Another fame. Why have two people shooting with a gun? Kalashnikovs. Okay, that's this is this is good enough. Okay, right. What have you noticed? This rectangle is still there? How do you get rid of this? How did you bring it in? Control shift. Okay, Control shifting. Click. It's gone. All right, all rights. Now I am going to bring you. I'm just really this one. I'm going to bring the other known, Which is the hitch is V Tool, which is V two. This is a lovely one, and it's about creativity. You can change things. Okay? I'll show you one of the users. Say, for example, you use your rotation. He rotation is when you start redefining, actually moving the colors around in the core real, the core will just bring that thing, Pull the wheel. Okay. It's as if we are shuffling around like we're movin this round. We're shifting the blues here, okay, We're gonna But it's somewhere readies here was probably gonna end up here. Green is maybe going on the air. So it's like moving it around, which basically means if we come here now and look at our picture, if this is blue now, what's gonna become something else? So we come to just beetle Andi. We can week a little bit, but then, yeah, this is not impacting the whole image, but it's just to give you the idea off what you can do, right? It's even touching impact in the sky. And if you want to change the cooler like to reddish punish alive green, if you want to style eyes, your image or part of the image. And when I say part of the image, you need to do rotoscoping for that urata scope, and then you apply this one to the mosque with Roscoe Pin. And since we have mountain mentioned rotoscoping, that is the next section 9. 8. Rotoscoping: rotoscoping in nature on we have here. Draw Roto on roto paint. Let's start with Roto. Okay, we connect this here. Onda, we have a few tools on the left here. We have selection tool. We have here the possibility to create with busy toe ellipse toe rectangle dependent in the shape we're gonna be using busy toe on. You also have the possibility to make changes. Right? So let's select the busy toe on. Let's say that we would like to isolator select this door. Okay, To be able to do something with it. So I'm gonna start true in fights on the weight. Very roughly. Okay, so this is really rough, but it gave me enough mistakes to correct later because I need to use a few correction tools for mistakes. Okay, Now, this is selected by default, which means that I can change a move. My, um a little dots hair. If you would like to have more say, for example, for this party, Well, you can come here and then you've got list at points. Okay? I need to other point then. And one here on you could even one more. Then you come back to this election Any move it little down. Something like this another here two is a selection again. All right, now, some of these edges are quite harsh. The quiet these corners are quiets. I need to smooth them. We come here on have smooth points that when you click, nothing happens. But it's like you have activated the tool. Now, when you come to any of the points and you click on it, it becomes Smith. Okay? You can't move it yet. You need to come back to the selection tool to be able to move it around. We are going to need one more. This one is space. Moved it on with select Bring it, Buck. Okay, We may want to smooth this one as well on this one as well. On this one is all And one more here on one more. Select under. Get little down this one a bit. Something like this. The idea is not to make a too detailed selection, but to give you the idea off the techniques. Okay, Now we have this election. What can we do? What we can also do? Just a little bit like this. Okay, We could we can we can do is we can come here And we also have the possibility to open or close the shape. If I click open a closet activates it. Nothing happens. But when I click if I could care Does it open this part? No, it opens the shape. Where did we start? We started back here down here. So if I click anywhere, it would open or close this part. Nick, this was open now because I've started here. If I click again, it closes. Open close. It doesn't open the place where you will you click. Okay, Good. And you've got a few other tools have got removed. Boyens cross point Smith clothes removed Feather point tool And we will talk about the feather in a short while. Okay, now that we have this, let's say we want, of course, to eyes alleges the door. Well, I've got this in the background, which is the car. This is not the door, so I need to cenex it as well. Let me do that. I'm going to click on this under get another selection here. Uh, because it, of course a few tweaks about the Smith in West. Move this one. This one Smooth. This is Yeah, that's fine, though. It's they is a bit weird, but it's fine, right? I select and start moving around these things to cover exactly where demon to be. I sleep it too much in terms off. Okay. I've got too many points. What do I do? I just remove them. Remove points, tool. I tone of this one. Okay, so something like this. All right, smooth, this one. Okay. All right. I'm just a quick, um, change it. I'm gonna move one of these in this. Points from one of them. Should be enough. Okay, now what doing? Okay, one, Just one. Lost. One lost on this. Should be it. No, I'm going to cuss point. Much better. All right. Good. Now, now that I have to selected, I I'm going to move to the ala Far. And then you think, Well, I thought that we selected that one to remove it, so I just stepped on a Yes, We selected to remove it. Now, where is my door? So this is the door under says the window sees the door. This is the window you have here in your properties for the roto A list off whatever shapes you have. Creative. Okay, right. This is the window on. It has a an operation off. What? This is over now. I needed to be difference. Where is more difference? Difference? Okay, now it is gone. So when I go back and I want to act on the door, do anything I'm gonna need to I can do that. I could do that. I'm gonna need to move it if it's moving, if the camera is moving or if the, um um if if the object that has been wrought a scope is moving the rotor scoop in activity from this list off the shape needs to move as well. Okay. Needs to be animated. All right, so now what we're going to do is just come here, Andi. Change the color for this stuff to see one of the users on since we talked last time about tool just beetle. It's just fetal. Then let's use that because the last time we had used it on the full image. Now we're going to use it on Lee on the door. Moscow on. We're going to change. You call it. Okay, so this way you can target specific areas off your screen and act on them. You can do saturate. You can do all sorts of things. What you condone. Wait, Just apparatus cooler. Correct. And instead, off during the mosque for this Going to like this. I have a condition. House. Right. This one. Just the door. You can act on your selection. Okay, Now, enough talking events. The roto? No. We're going to move to Roto Paint now, now, or autumn paint. I want to use this footage and said Okay, I will delete this one on. Just stay with this. Let me quickly check. This is 79 frames. Not much, but my projects is a lot of frame, so let me just bring it back to 79. Okay? So now that I have this, I want to go back to the first frame. First rain we have these people are ongoing. Pressure F two centuries. Good. Let's bring in the rotor paint Note. Now you can either type here Photo painter four. Bring it from the drama. New only will connect this. Have the background connected on what do we get? We get the same tools we had for the young for the wrote a note plus some others. Plus, we have this this on this. So this is what this we have clone and reveal Here we have blurring smear. And here we have dodge and burn. The most interesting wants to be honest are the first ones, But you can use the second and third as well cologne and reveal. These are the ones we're going to spend in time on. But I'll just briefly touch on these, okay? They're not very exciting. This is the most exciting part is clearly reveal when you want to duplicate somebody or just make them disappear. All right, But there are a few things that need to happen during production for this to work. All right, so for um, cloning. Let's say we want to duplicate this guy. When you click your clone, you get Can you see? There's that. There's a small circle following Microsoft now this is a brush. I'm going to increase it tube. About enough. Teoh are able to select him. Yeah, that should be fine. 1 70 Yeah, this should be fine. So I'm going to duplicate this guy on. Just make his copy here in the video. So how do we do that? We're going to stand on the reference press control. Click on, then move it to decide on release when you really use it, you know, can very simply paint. Yes, You get some artifacts sometimes like this. But don't worry. It's just a calculation. Think sometimes happens, but everything's gonna be all right. Let me just I'm doing it very slowly to avoid duplicating too much of the background behind him because we would like. That's it. This should be kind of enough. May. Let me hear it. That's it. OK. Huh? Maybe a bit of his head. Yeah. Okay. I think I'll give him too much of a haircut there. Right on. Somewhat to the right and good. Okay, So I've got my guy duplicated. Maybe I want to duplicate his shadow. Get us? Well, something like this. I can reduce the size of the brush, of course, to get a bit closer to the other to the first replica to the origin. What for? Now we're doing good. Okay. So this is how we duplicate eight person or an object. There's another thing. Let me just bring my circle back to where it belongs. Control again. Okay, I bring back the young brush 25 a move To what? Teoh to the reveal. Reveal. Okay, I don't need this clone anymore because of what I've shown you. That I will delete it on we will go with reveal. Reveal is quiet, quite useful. It's actually more used than clone because you're going to need to remove people more often than Adam. Okay, then more often than Ruth and duplicate them. So if you have somebody in the background, it doesn't belong there. If you couldn't get full clearance for the whole area and somebody somewhere, you have a big village that you're shooting in and the inhabitants are so happy to accommodate you. But a kid opened the window, found it's a period piece, and the child is like, today's look, that is gonna be a problem on you Just need to have a clean plate, because if he wasn't there in the first place, it means that already had a clean plate. So let's say this going doesn't belong here, and I only need these on the commander. Sold. This guy doesn't belong. I'm gonna remove him. How do I do that? Let me come back to the video to the sequence. Copy. Pasted. I have I have in the last frame. I'm gonna come here. Double click on the copy and first frame. I'm gonna say 79. So first on lost are the same. Just give me the one frame and you notice Here it's empty. Let me show you closer and select this one. Impressed, too. This is empty. This says one, this is two. So this is a clean plate. It is very important to have your complaints if you have individual effects whatsoever that you need to make for any corrections. Okay. Clean plates are extremely important. It's something we addressed your in the A green screen is something we address during any post production that requires visual effects work. What a scope and reveal in cologne. And even during clone, when I cloned, I may have ended a little bit off the background. But if you have a clean plate, you can come back and clean it again. Okay, lets go back. So I have this as a clean plate. What do I do then? I'm going to connect it as a second background to the paint. Let me just remove this. What happened now? Wrote a paint has the first program on a second background. This goes behind the, um the the foreground behind behind this picture. Okay, so if I want to remove this guy van, I will just come here to my Rato paint number, click on its and come to my reveal on increased the, um, the size. What was it? One of the 70? Actually, I don't mind. I can go bigger because it's fine. I'm just Yeah, I could do that. I'm gonna be closer to his hand to this guy's hand to remove the shadow as well. So better be careful. So 1 50 Yeah, they should work. Fine. Okay. So on what we do is just starts paint in the guy out of the plate, removing him completely. Ah, a bit of the edges. It doesn't always do this black stuff. Blood artifacts when you're when you're paint in and it's just done it the first time now. Okay. So making sure I keep the shadows of the guys, the guy is gone for simple reason that I had a great um clean plate. Now the whole video can run easily without going in the in the picture. Okay, so this is these are the two most used functionalities off the road or paint. You also have just really remove the reveal and then reduce. This is to 20 point again on. Then you have the probably keep it like 101 100. And then you have the next 20 which is blur and smear where blur does Exactly what it does is like when you come here and start painting is going to blur. Oh, sorry, I I'm still with the reveal. I'm still the reveal. That's no good. We just remove this reveal Are you seeing, by the way, that because I have a clean place, it would even remove these ones. I'm just telling my mistake. Okay, now I'm on the blur, So if you come here, it is going to blur. What's doing this? This black stuff here just for the first time. Don't worry about this. It never did it before. And don't worry about it. You can adjust the opacity on the hardness of the brush on the strength of the effect. Okay, So you can make something there. Although I think for the Blur, um, you may want to do it differently, but this is another way to do it. And then you have this merely just remove the blur again. I got quickly through these ones because it's not really These are not really a big deal. Smear gives you this kind of effect. It's stretch in some things, this stretchy effect. See, you may end up needing this for any stylized something that you want to work with. So I adoption is there. The option is there. I'm moving now to the next one which is Dodge and burn where they are the opposite. So Dodge is gonna make you dependent on the opacity again. It does this. You get this kind of effect. Say it's like, um if you've got a, uh, drug on place where the golden whatever sand or whatever, this is a kind of effects and I'm gonna keep it in on work with the burn burn does exactly what it say's is it is just burns like burning the image, right? So and it's something that you can reduce and adjust the strength of the effect with the opacity of the brush. Okay, so these are These are the ethics 10. 9. Green Screen Keying: green screen Keen in nature. First and foremost, I would like to talk about a few principles that we need to grasp before we talk about the first production side off green screen. Keen during filming, there are a few things that we need to be aware off. Okay, when you are filming in production, there's a role that you need to have in there. As I said, it doesn't have to be a person. If the budget is limited, it can be just a role, but it needs to happen. So number one, that person or that role is going to make sure that whatever green screen you're using has markers on it. A great screen without markers is not a green screen. OK, so it's the matchmove. It is impossible on them for the markers. You even if the camera's not moving, you want to have your marker set so that if you decide later to move the camera, you already have the men you already protected. If you forget or um, you carry on without putting markers, you are already covered because from the very beginning you already have them on. Second thing is that for the green screen. It needs to be evenly lit where that stuff you already know. Of course, it has an impact on the variations off green that you have, and therefore the Keir has less colors to worry about, less variations of green to worry about. It's not carrying about the Keir. It's because the Keir has to be more aggressive when it starts going up in the selection off the green. If it's selecting light greens, see here up here. This is like green. This is dark green. This is dark. This is a big dog and this is not a topic. The shadows And this is a big dog. What do we have here? The Keir. When you select the great Deloitte spots, you are going to be selecting just this part of it. But if you select the dark past Sorry, the dark parts, the dark greens. You are going to be selecting also the light greens. So if you select light, you don't include dark. If you select dark, you don't include light. You can also look at it as saturated non saturated. If you select non saturated, you also include saturated. If you select saturated, you don't include non saturated, but I prefer to think of it as dark light. Okay, so why are we talking about all of this? Because initially you need to have during production. Even the little screen do your best. I know. Sometimes it can get big. The Femine area can be a big. You may be used in two or three pieces of green screen a bit for the ground if you need to have on the ground a bit for the top part a bit for to be like accidents, the wall. And you could have 34 pieces and they may not have the same green. I understand that some product could be different. You may be painting something that until differently, done what you've brought chased, you are going to have to deal with this. Okay, on the good news is the method that I'm gonna give you is going to work without. So when you have differences in green, I'll give you the method that addresses that part. Okay, so But during production, please, let's make sure that are green screen is inlet. Another thing is, of course, when I came here and I talked about the shadows. Should those on the ground are good? Shadows on the wall are not. And here, when I say rule, I mean the green screen acting is the wall. There needs to be the distance between your actors and the green screen. Take it as a measure in terms off spill. If you get them closer, you're gonna get their shadows on the green screen. Bad news. You're gonna get the green on their clothes on on the reflective stuff they have or they act. They have reflective shoes. If they have glasses, if they have here, they have phone. This is reflective. This is reflective. This is reflective. Adam, I don't know about the shoes. We don't have them framed, but they're gonna be reflexive as well. We need to get them as far as we can from the green screen. And yes, it could be a challenge if you have a small green screen. Okay, but something to be aware off. Another thing is, when you are filming, please be sure to feeling with the highest quality possible in terms off format in terms off Kodak. In terms of everything camera related. I am, um I think it is. It is. Yeah. I'm tempted to say it is the most important thing because you may do everything if everything else could be great. But if you mess this part, you are going to give your composite er you're you're going to give the Keir very, very low quality information. Call information. What is key and keen is all about color. And if we're going to give compressed footage, so this is the key thing Compression compression is the enemy off drinks screen. So if you have a role that is brilliant, if you have just brought as lower quality than robot, then still high quality, that's fine. But please don't go any lower than 40 to tip 10 bits for 2 to 10 bits is the absolute minimum going any lower is going to be a disaster. And, yes, I have chosen a disaster video to demonstrate a technique. So I'm advising you not to do it. But I'm giving you here an example that okay, I'm going to give you a technique that works even with the most with the lowest quality videos there are. So this is stock footage which is completely not respecting any of the rules we talked about, nor marcas not enough distance. We've got some clearly not even really it. You've got this part here they've got They've done some some good job, but still not enough. This part is closer to the yard to the lighting. And this this part is clearly not even in it with this. So I've chosen, um, on example of a video where everything has not been respected and I will apply the technique and I'll show you that it is going to work. But please do yourself a big favor. These rules you're in production are going to save your composites and your green screen compositing aim the first production. So compression is the enemy off visual effects, not just green screen or visual effects. The higher the quality of your video, the better the work on their easier. Everything is gonna be the first collection. Okay, Now we're going to move. It's the next spots. I still have one very important aspect during filming, but I'm gonna leave it till we talk about the tears. Okay, so we dressed for on there's 1/5 1 coming so again, recapping quickly before our number one tracking markers. Number two evenly lit green screen number three, Distance from green screen. And number four is the compression. Is the enemy off green screen. Okay, now we move to the cares. What options do we have? Well, just like a nuke. If you come here, you have a tablet. Kier. So I and Michael with care. And they've got a list off years in here. Plenty of choice. Slightly different name in, sometimes from from you. But you'd be surprised that data about the same thing. Okay, now, of course, we don't have key light. Of course we don't have prime at. Of course, we don't have ultimate right. These are paid plug ins that initially, um well, they plug ins. There are part of the price when you buy new, but they are initially included in the cost because Newcastle, like, chased the right to use these things. So that's why it's white included. But when you talk about open source compositing software like nature, you may be thinking, Well, probably then the list of key years is not that good. I will show you that the big on big color this combination compared to the new combination , the nature and one is more robust. Well, for a simple reason that, as you know, in practice, what do we do in practice? We don't use one. Keir. We use a combination of cares. Okay, so we use We use what's called an uber key and or brickies combination off. Say key light and primary. Um, ultimate on Gueye decay. Uh, sometimes just give us with the light and ah, combination. And every Keir is going to take care off a specific part, a specific aspect, something in that image and a very limited task. And then the other key is gonna take care of something else. And then together, they're gonna give to 1/3 1 which is a Berkey. All right, so just to summarize now we have a list of key years. They're different from yuk, but they're doing a really good job. Okay, so when you use these cares that we have here, you are not gonna be missing much from nukes cares. Okay on I'll be showing you the extra by meters. They have that they have added in new by the way it's called big, so I BK I became image based key in. So you have the I B K gizmo and the I B k color. Right. So this is I became gizmo big. Sorry, I just jumped. Okay. Ah. Pick is Ivica gizmo and Pickler is the i. D k color, but a bit stronger than the new fashion. Okay, Because they have added some perimeters from from from key light. So it's like they have combined. I've ikea on key light in one. Really, really powerful on this is the one we're gonna be using. This is the one that will save the day when you have differences in green. I'm saying, even if you have different green screens, not just the lighting different green screens. So when you have it not evenly lit, you can use this one. It's not reason during production to let down. OK? So respect the rules. Follow the guidance during the production on then it will be much easier on post production . Whatever approach Gitic. Good. So now we've got to bring in these fellows. Oh, by the way, haven't you noticed that when you look at the icons here you have this eye dropper here? Same thing here Also here same thing. But when you come to pick and big car, they don't have an eye dropper. Is it just not a stick choice. It's something else. Because it's a method difference. These skiers select a color. These do something completely different. Let me show you the beauty off their work. Okay, let me bring this one. Okay? We got to know it's not a problem, because I just had this one selected. No worries. I'm just delete on bringing up one. I didn't want have anything selective. Um, pick ago. That is big. And then pick color. Now I'm going to move to but the fifth. Where is that? We're sorry. Oh, big, big color. Good. I said I had 1/5 1 5th rule that we need to be aware of during production. What is that? Well, I now need to talk about it when I have brought this one over here. Right. What is this big color and think these two? They work together to give you a good key. How do they work? They tell you very simply, They ask you the question. Do you have a clean plate? Well, it's not required, but it will make your life easier. Good. So this is the fifth. I would say rule guidance during production. Get yourself a clean plate off. Whatever green screen you're shooting, sometimes it can be challenging. Sometimes it can be difficult sometimes. You don't have times for that. I understand. But it will save your life. It will save you a lot of time. Your press production. Okay, so big color is acting on behalf off your clean plate. If you don't have it again, it is not a reason to say Well, yeah, I've got Bikaner anyway, so we don't need the clean plate. Clean plate is always the best. There is nothing better than reality when it comes to trying to get a killing place. Because big color now is going to recreate your clean plate if you don't have it. This is how they work. Big color is only here to tell you. OK, you don't have it. No problem. Well, we wish you had it, but, um, I'm gonna do it for you. So Pickler is gonna do it for you. Do what? Because I was going to re calculator the whole thing. It's an estimate. Its own estimate to give you something that looks like a clean plate. Estimate the what? The green that is behind his gentleman. All right. And give us the full image without the two people. So it is a different approach where when we start working, we're going to select the green and start to weaken the green. Until we remove the green, we don't remove the green. We removed the people in front of the green on, then will remove know the green. We removed the whole background, which is the clean plate, all the recalculated clean place, and then will come to pick here for the rest of the work. It is a brilliant approach if you're not used to that in your authority. Okay. So what do we do? I'm gonna have to bring this one here on. Please get in the habit when you working, especially with this big color and pick at generally when you're working with green screen , have to viewers. So I'm gonna come over here, split horizontal, create a new viewer on This is my new viewer. Okay. Now I am going to have Well, it's not meant for the background, but we We'll see we'll see. What do we have? I have big color now. This needs to be connected to your, um, to your footage. The source. So it uses your footage as the source so that it takes it on. It starts to do its calculation to get you your, um you're clear plate your calculated clean plate in case you don't have one. What do you notice? We got something weird up here. Well, that is absolutely all right. There's nothing wrong going on there and I'll show you why. What you do is then connect this. See, actually color. Well, I think it's more like clean plate. Yeah, Seishi, look at it. More like a killing played in color, but slight color and clean plates. I would rather read it a clean plate. You get the clean plate from Pickler, you get deep background. The real background is here. Okay. What do we have here? A frame rate difference. All right, let's come and check our This is 24. This is 29 point stuff. This is 25. We have a big mess. So you know what? I'm just going to change this one custom 2 25 and then I'm going to change what I got here . This is 25 then I'm gonna change my project to 25. Okay, Good. This kind of things we should arrange in the beginning, but it's It gives us a warning when there's a mismatch between the frame rates, frame rates off the project and incoming footage. Good. Now, what were we doing? We were connecting. We connected the clean plate. We conducted the background, and then we are going to connect the foreground. What is this? This is the foreground. Yes. This is the foreground. We connect the foreground on it. Say's Well, um, yeah. 25 25. It kind of just a cash. Think. Just get it normal. All right, Good. So what do we have here? I have background, foreground and clean plate. But these two, they don't do any compositing. They just do the keen for the composite. In part, you're gonna need emerge note, so m merge and you get the background from here and you get a the foreground from here. And then we connect to the viewer to the second viewer. Well, hold on a moment. This is really getting weird. Not only this part is weird, but this one as well. Why? Let me go back here on Look at this screen Time blue. It's by default Blue. You have the option to turn to green. Ah, and then pick as well. Screen type starts as default blue and you can change. Change into green now is different. All right, now let's start the work of these two notes. How does it work? OK, number one, Because I I generally recommend that whether you're working with Nucor with nature on for the properties, you only have one by default to get something like then this is the 40 stand. So then you keep having a whole long list off properties. Every time you click on a node, you end up with Let me just open No read, read pick. You have plenty of these. This could get very confusing. Really. This is why I tend to go with one. Just want to make sure we're working on the rights bar meters off the right note. Exceptionally, when we work in with green screen, especially for pick, car and pick, I prefer to have it to on on Lee to because I have to Here. So I'm gonna start with big on the big color by having Pickler at the top and pick at the bottom. Because this is the sequence of events. This is step by step. We first come here to make the perimeters on. Then come here and a tweak the parameters, and then we do the rest. Okay, I'm going just for the sake. Off completeness, add what is a generally a guest of hunter in any compulsive green screen. You have the dispel. So I'm just gonna dispel already. We can definitely later if you want. And just making sure that I have all my nodes ready to go. All right. What do we need to to do? Let me just get the order right here. They call her pick. What did you say this is all this is now all about recreating the clean plate. This is now removing. That is true. These two gentlemen before the foreground and keeping the green green the other key years here. I've got Chroma key. Your three other Keir and stuff. They choose the green. They removed the green. Now we're not gonna do that. God will do the opposite will remove the people, then get the green, then remove the whole green, not just one color. Remove the whole thing and then we end up with just our two people. Okay? Very, very smart approach. I BK Image based Kian is the principal. It's also the name in you. What? Here it's called be, Iike, a big good. So how do we do that now? That is again assuming you don't have your clean place. If you had your clean plate, you would put it here instead of this icon in the Senate. Instead of this note, you would get your clean plate so it would not be you wouldn't have any. You wouldn't have this connection of source on you would have clean plate going straight to this. All right, Good. Let's not connect it and go to the next part. The color. All right, bra. Meters size. Don't worry about this. Okay? You can after you finish all the tweaking come to size to make it a bit just to see what it does. It's not something we need to worry about. We do want to worry about the dark's and the lights and Before we start, we start touching anything. Please come here. And you, you may end up forgetting this up. Please. It's important that which week on Lee The Greens. That's why you click on three, click on three and come here and work on the greens on Lee. Because we are now trying to make sure we are tweaking or greens. It's We're not selecting them to remove them. We're tweaking them. I'm trying to get this cleaned. OK, so I'm going to remove the docks under lights. But then slightly. If you start going, it's about reducing them like it's minus. So here, if I go wild like this minus 0.5, it will get completely it. Zeke. Exaggerated? Yeah. So let me just go like this. Zero minus 3.1. We shouldn't. We should not have any contamination. So it's about cleaning the Dark's. But at the same time, we do not want to have contamination. This is contamination. So I really need to go really, really gently with this one. Go with monastery 1003 Okay, this is fine. But then I need to clean the delights as well to reduce the lights have a netter. Green the lights. I'm gonna go down. It's starting from one. So we grow into 0.9. Just chicken. Okay? It is kind of OK, but we have some contamination. We need to go back up, going back up. I think I'm gonna have to go back up way. Okay, let's reduce this 12 to 5. Okay. I'm probably back up here as they still have one pixel here, so chances are going to need to go. Okay, Gone, gone. So I have reduced a bit the lights and the darks. I without contamination. So this is what you need to do? Your objective is reduces values without getting contamination to the point where just the condemnation is gone. Okay, this is how we get a cleaner green. Now that we have done this, we're going to start removing these two gentlemen. But but if with on how to remove it is by removing the black. But if you notice here we have some blurry black. This is not gonna be relived. If we remove the black here is going to stay on. This is not good. So what we need to do is make sure that this part is also black. This is why we need to use the erode, erode what it does. It doesn't erode the black that erodes the green. It actually inflates the black. It makes it bigger to eat up this part of as well to increase, to cover it as well. And this is what we'll do. It's not just him is everywhere. It's everywhere. You see this? So we're going to increase this erode on this one? You don't need to worry too much about the about the values. It's not about to go in 0.1 or something. You just make sure you cover. I'm gonna just breast if just center this right. Um, I okay with this. Well, it may be okay. I may need. Yeah, kind of. Okay, good. You can come back and tweak it later if you feel you need. And how will you feel you need? It's actually, um, the result of the Kian was gonna tell you if you need to come back and take this on now we're gonna do Is that black? Which basically means get away these Fortis foreground. So we just remove it like this. Still, it is gone. You notice this is what I said. You may need to tweak it. I think I'm gonna remove this just a bit. Okay. Then let me just frame this. All right, on. We've got our background, our foreground gone. What is this? Why is this dark? Why's this light where this is again? One of the rules during production. What did we say it was? Rule number two or number three? This tends from the back ground distance from your green screen. Now, this is one of the important parts and revolt Explain. But I knew something new. I'm telling you something you know about about this distance. You know, when you when you have shadows on the ground and the people move out to get the clean plate Where the shadows moving with them? Of course. So the shooter was not there. Okay, So what does it mean? Shadows are not cars off the green screen. You will be removed. This is how the color is. Thinking big color is now has been given the task to recreate your clean plate. So when you ask, the people on said gently, Can we please have just a clean plate. They leave their shadows, leave with them, right? So what does it mean when they're back with their shadows? Big color knows that the shooters weren't there, that the shutters should stay in the composite. So big color gives you back your shadows on the ground. It is beautiful. It does beautiful work. You get the shadows for free. But if you are too close on the shadows are partner off the foreground, sort of the background. The color thinks this is your normal background. So I'm going to remove it. It is not going to remove the shadows. You're going to get no shadows, whether on the the wall or all. I'm saying the wall like one to see her standing vertical and whether on the on the ground . So this is why you get your your own clean, clean plate. Piccolo is gonna give you back your shadows and you put the shutters with the compositing and it looks brilliant because you get back your shadows. Okay, second thing when you use Marcus and you asked gently the people to leave the markets are still there. Big color looks at that and thinks Yeah, these is also parts off the clean plate. Discourse needs to go. You don't need to work on the markers. They are gone by definition, The beauty off using your own clean plate has so many advantages, and big color is actually the wind. Your plan B. Just look at it as your Plan B. If you don't have a, um, clean plate, they consume save the day. But there are so many things that you're missing. All right, you're missing your shadows, you meeting you. You have to manually go through your tracking markers, depending how you want to do it with paying sort of paint or whatever. So it's, it's It's a lot to be one with the with your own clean plate. Let's now go back because this was really important, especially foreshadows. Now how will you bring back the shadows if somebody's walking on a green screen on them on a green on green floor? Now, generally it is recommended. You don't have green floor the most objects that the actress contract, which would not be part of the green screen. Generally, you have noticed in recent years the ground they created in such a way that it's the world that it's meant to be appeared to appear in the screen and only part the upper part is somewhat covered. If you look at the Martian Mars, it's they recreated the ground. But the atmosphere, it's fine to be agreed. So it's just just something to be aware off. Cool. Now we have finished the spot we have recreated. Now this what is gonna happen now Big has received this information to say is Okay, So you are telling me because I was telling him that he needs to do this minus this. Okay, that's the beauty off. Not selecting just one color on variation, literally removing the whole thing I'm just keeping are two gentlemen. So this is why I have rather good quality from the start. We haven't started. Actually, actually, we've just started. We've just started tweaking things on, um, by default. The values already give you a very good result. Okay, but we are still working on this. We haven't even touched the pick. We haven't even done proper Greece cranky and right, because now when we moved to the 2nd 1 we're going to switch to Al far on, then you see who? Actually, there's a lot of mess there. There's a lot of noise. Yes, We're going to work on the you notice here when we were working with Pickler. Remember this This value off darks and lights. Now, this was for our naked eye Gone. But for the, um, for the Gummer, if you increase it, you're gonna be able to see Oh, it's still there, actually. Okay, so you may you may decide to come here and tweak it a bit. Sorry, that was not this one. It was here. You may decide to come here and reduced even further. Um, it's not reduces. Like close. This isn't this is it okay? This is when you want to go back. Why? Why? Why is it preferable to go back here than to make it in here? You can absolutely do it here. And this is the perimeter. By the way, this is clear block. We will come to this. You can absolutely do it. But you're gonna start hurt in your, uh, edges. If you do it here, you are changing the definition off what needs to be taken away. And that is a little different. So This is much better if you do it here. Okay. I think this is about enough. 0.98 is about enough. Um, So what? I'm gonna do this. We have removed quite a bit here. Um, then we come back here because sleep black on glee points are quite aggressive, and they do great work, but they can hurt your offer. They can hurt your mat in the edges. Especially the clip. Okay, Now we move to the next one. So we've just looked switched to Alpha. Go back, tweak the this part here, like, be less aggressive. That's basically go back up. That's what I mean. Go back up on the darks. The go back up a little bit on the lights until you have about enough to work with. This is all right. This is for me. Fantastic. Because this is gonna be gone. Like we're just a minor tweak with clear black. Okay, now, a few things before we move to clear black and flip points. Sometimes you may have read weight and blue weights. Or if you have green screen, we're talking. Blew it for have blue screen, which talking green. Wait. So what you may want to consider is just slowly bring down this. If you have any issues with chromatic aberration, if you have some reds or blues in the edges, this is gonna take slightly. Take care of that. Okay, So just 4.0 point for Asia for 0.47 stuff like that just very, very minor. Just to make sure if there are any reds or blues in there, just we take care of that. Now we move to the part where we clean the blue, the black and the white. Okay? No, this stuff you will not find in i b k and a nuke. This is the additional part that nature on has added to the IBD natural I became. This you're gonna notice is familiar from key light. If you've worked with after effects before or if you worked with Killer Inside Nuke. So what they've done is they've combined the beauty off i BK Inuk and the beauty of key light in yuk. And they've got the beauty double beauty off the pick. So I believe firmly that pick and pick color is way better than I d. K in New York for the simple reason that they have just combined it with another with the strong perimeters of another key. Or so they have to. In one, I don't mean to in one, because I be cares. Also, two notes. I mean, like, three into. Okay, they've got three into All right. So clear. Black. I'm gonna move. Just appear. But this the one does what this one does, is it converts. The values are gray into zero. I am now redefined in black instead of saying black zero. I'm saying, Okay, Black is now zero point 81 What that means is that any big cells that have this value need to be converted to zero. Need to be considered this block. So I go up just a little like this. This could be enough. We don't know yet. We will check. And when we have chicken is pressing This, um, t changing the other. Um, sorry. Did the Gamma increasing the gamma here a bit. And you see him? We still have something here. Okay, So when you have a hole here, I'm gonna increase it just a little bit. That's it. That's it. That's about enough. Be very gentle. piece. Why? Because we have already tweaked the darks and the lights here. We've already removed most of it and we were left just with a bit. Now, this is not exaggerated. This is fine. I need not work on this core. Matt. Here, inside. We've got transparency. Come over. See this? Okay, this used to go as well. This needs to go so clear Block when need to remove this as well. Okay, fine. Just about enough to remove it. We're good to go now. We're going to go. Where? To the wide spot. Three point It could be. It could very well be you. Notice Halderman's. You notice this? This artifact is not, um it's It's in the fact that nature is not not necessarily recalculating all the all the notes. It's just temporary. It's not. It's not an issue, That's what I mean. It's just a temporary thing because it's trying to Maxim boys optimize, optimize the use of resources and it doesn't recalculate order notes Every time you change a perimeter and then if you zoom in or zoom out, you may end up with something like this, or you need to teach. We need to do it just like, yeah, it's on back. Um, it's It will be recalculated again. Don't worry about. All right. So what I'm gonna do is three point now. 30 points until my transparent pass inside are from the most part called. I don't mind having some transparency in the edges for a simple reason because edges are meant to be transparent. If you go hair, you're going to have to spend see in there. Okay? So I don't want to hurt this part too much. See, this is not pure white. And I'm okay without for the simple reason that this is here. We should have something like this. This is how we reveal some detail. OK, cool. We have a good korma. Now we have some good white and good black. So this is, uh, ago. Well, we're not done yet. We have still some stuff to do. Okay. Lets convert back to, um Teoh. Um s o r t v. And what do we have here? There's something that seems to be wrong. What is that? We have the background coming in to manage. We have a I just is able to dispel. And we have the big. Now what I have is let me see. Something has Okay, the brilliant. This is a fantastic opportunity again to repeat what we have mentioned earlier, that if something feels wrong in your screen here, get in the habit of checking the reds up here. If there is any red, it's telling you you have changed this and you forgot to bring it back to default. We have changed the Gamma. Remember when we wanted to clean the blacks? We changed the gun. We didn't bring it back to default. Just click on this and it goes back. Okay? So generally, when you mess with something on your screen is not Doesn't look fine. Check off there. There's something read somewhere. Good. We need now to activate the dispel. Okay on. We're going to work with even better. I'm gonna get closer now to this hair. All right. What do I have? I have some light here. Lights, boss. Here, round his hair. And that's not something I want to have. I can help. Um, there some. Some of I can help this part. Don't have talk in this part by activating to perimeters that could help or hurt your keen on. It's all a matter of trying just checking them. Use by grant luminous and use background Chroma. What does that mean? This helps for the compositing to get the foreground and the background closer by using the luminous Remember why we have now the foreground connected. I mean big color. Okay, Sorry. The background connected. The foreground is needed to be this minus. This gives us a true gentleman. But you notice that actually I said pick, pick our and pick. They don't d 11. 10. Free Plugins for Natron: there are plug ins. Free plug ins for NATO on you may have noticed on the left. Here. I have a few more cons than you do. Community ignite. Okay, I'll show you where to get these. You search for nature on community plug ins. You get as the first link did have dot com slash nature on vfx slash nature on dash plug ins. This is the page for neutral community plug ins. You come here, Kelowna download and you get the zip file download zip file. Once you don't let it, you come and place it here in See Dr Program Funds, India India Bean Institute that supports Financial Lady Open Source Porter Canadian and Blokhin's so NATO conversion plug ins and pipe locks by plugs. This is the folder where you put your zip file and you unzip it when you unzip it, you get NATO on plug ins. Master, this is the folder you want to keep in here because when you get in, you get the l channel color. These are all by category. If I go back, I go to a community. The L Channel colored row. These are categories. OK, so this is for the 1st 1 Now let's move to the next one. Ignite Express. This is from hit film, so effects don't come Well, it is free. It is free. The ethics dot com is is another application okay for our video editing on effects and stuff, but this one is is free. This this package is for free. What you get here is free plug ins. Get ignite, express. When you clear combat, you get well, a little gesture on done. You download a your application. It is an application that you install and it is called Let me just go back here, try to fund it quickly for you. Nature on Andi that is going to be plug ins of projects and this is what it looks like. Ignorant express. And this is inside. So you just lunch it, install it and that's it. What does it do? It recognizes every single application on your computer that it supports. And it does support quiet. A few those support Quite a few. So it supports a lot when you see nuke, it means that supports nature on Okay, so new control and being very similar, it does support in a Tron. So in addition to NATO on it supports all of these. So when you install it and you close and reopen again nature on or actually any any, any one of these others, you will end up with Ignites Express. Um, Logan's added to it. Okay, this gives you a richer tool set. 12. 11. Render: exporting our results from NATO on How do we get that out? OK, file. You don't find anything here because, as we said for read or four rights for important or for exporting, it all happens with now. So it's gonna have to be a note on in image you find right. So when you open it, when you load that, you get automatically a dialog box telling you. Okay, where do you want to write it? Give me the name of the file and give me the extension of the file, which is gonna be safe sequence. Because in visual effects, we work with sequences. Okay, Right. So I'm gonna save it here, and I'm gonna call it Composite Composite. Um, I will make a mistake deliberately. Is that okay? Okay, let's let's do that. Composite number two or composite be. And I will want to deliberately make a mistake to show you something if you may, if you're not aware of it. But it's good to do to see that and then file type I'm going through for open your x r or X R wherever that is. Yeah, it's all eggs are okay. Good. We're going for the eggs are, and I'm going to just click save. Okay? All right. Now, I have frame range as the perfect from range. Now, this is a choice you can say. Yeah, I've been working on the project. I want to render the whole project, or you can render only a selection. And then you come here and say mental When you say which frames or in this case, I probably just want to have the foot from the first frame to the fifth frame. Because for the purposes off this demonstration, I don't need to render the whole thing, and it's gonna go faster. Five frames. Onda, This is yeah, either perfect frame. Or you could do it manually. I then can, having said everything I needed to set, making sure that I also have my own gp a stuff in there. I can come and click and render, but I need first to connect it. Rights needs to be connected to not to the viewer, to the merge to the last one. Because the viewer is just seeing This is the final result. You're going to connect it to the last note. Okay to the last night which is most likely than not going to be emerge. Or it could be called correction thing or is the last notes The final think you're going to work with is the thing that isn't connected to the viewer. The last one. So this is the right nerd connected Everything okay? We're going to click rounder on. Nature is going to complain. Let's do that, Vendor. It should have complained. Okay. What happened? I deliberately tried to make a mistake, but NATO on managed to, um, corrected for me. What happened is this Normally you should get a warning, but I think they've changed it. Um, this hash is important. I deliberately missed it. So when I said I make a mistake, I didn't write a house on. When you do any X are in this case, you just get it automatically. The harsh is important so that you get the numbering because this is an image sequence. Let's have a look at that. We'll come back here. Where did I put it? Nature. Right. Let me come back and reopen it because you could. Also By the way, here you could also read backfire. You can check this one to say Read, Backfire. Meaning when you export it, Bring it to the scene. Bring it here to the node graph. All right. Um What? We didn't do that. We're gonna do it mentally. No. So I'm just gonna bring it in. Where is it? It is in the nature on undone. Compositing. That should be right. So sorry, Neutron. Right, Right on. This is Mount. Might be This is it. This is the, um I'm just going to put file to show you. This is creating 12345 It has created a numbering system for me, whereas I should have myself potash open. Um, I'm going to give how Maney Okay, that's enough. We only have one and connected viewer. Readerman did not have the same frame rate. Okay. Yeah, This is another thing, because we have exported. We have exported a young 24 and we have export. Was this frame rate this is read eight. Let me just check the project settings. Processes are 24. Um, this one. The writer is meant to take ST from Project settings. Four month. Yeah. Not sure why we have that difference in frame rate, but these are What is our image sequences? And by the way, when you bring it in and you connect it image sequence by default egos as 24. Okay, because it's an image sequence. Uneven sequences have frame rate information for the simple reason that it's seeing Newman sequence. Okay, you consider it with thematically here. Sorry. Men will hear. I'm going to my project settings on its 24. This is 24. Everything should be fine. Good on. Let's look at this. It's number two. Well, it has changed. It has changed. Just are. Just remove this one. Connect just of one on. This is my composite exported. Okay, Just five frames. I mean, just may have a bit, Okay, you don't see much because just five frames, but does that. That's how we do it a little bit. Just a few movements there. Okay. So Well, I could have asked for the whole thing to render, but I didn't want to make you wait. This is how you get your stuff out off nature on