VFX Compositing with Nuke: Invisible Visual Effects | Vicki Lau | Skillshare

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VFX Compositing with Nuke: Invisible Visual Effects

teacher avatar Vicki Lau, Multi-Hyphenate, VFX Pro, TEDx Speaker

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

24 Lessons (3h 11m)
    • 1. Who am I and Who are you?

    • 2. What is Invisible VFX?

    • 3. This is Invisible VFX

    • 4. Software for Compositing

    • 5. Interface Basics

    • 6. Nodes not Layers

    • 7. Tabs, Panels, Windows

    • 8. Categories of Nodes

    • 9. Understanding the Problem

    • 10. Clean Plates & Patches

    • 11. Color Correction

    • 12. Tracking in Nuke

    • 13. Lighting & Blur

    • 14. Grain Match & Check

    • 15. Rendering Options for Invisible VFX

    • 16. SHOT #2: Removing Moving Objects (Part 1)

    • 17. Removing Moving Objects (Part 2)

    • 18. Subtle Set Extension (Part 1)

    • 19. Subtle Set Extension (Part 2)

    • 20. Adding Video Elements

    • 21. SHOT TRYOUT: Replace this!

    • 22. Invisible VFX Best Practices

    • 23. The Thing about Invisible VFX

    • 24. Stay Tuned for More!

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About This Class

If you want to learn how to use industry-standard software, Nuke, to composite impressive invisible visual effects (VFX) shots, then you're looking at the right course. This course will reveal the tips, tricks and applications of invisible VFX compositing in post-production visual effects - one of the most common types of shot assignments you'll get as a compositor.

Learn How to Composite Industry-Quality Invisible VFX Shots.

Using 3 real live-action films as test shots for this course, learn by actually working on shots while following the course as a step-by-step guide to proper and professional invisible VFX compositing.

Why This Course?

  • Taught by a real professional in the visual effects and film industry who worked on actual Hollywood blockbusters

  • Step-by-step guide with practical and hands-on live-action shots to work on

  • Insights and know-hows that would save you time and money when working on your own visual effects shot

  • Complimentary course in a series of other advanced visual effects tricks, tips and methods

  • Networking and open collaboration opportunities with instructor and students

Pick up the Tricks that Keep Your Invisible VFX Shots Perfectly Invisible.

You will Learn How:

  • Invisible visual effects are applied in film and television

  • To composite realistic invisible VFX shots

  • To use Nuke for invisible VFX compositing in live-action films

  • To apply basic and advanced invisible VFX compositing techniques and tricks

  • To apply effective and smart techniques of doing compositing

The best part about this course is that it's going to cover all that you need to know about invisible VFX compositing in only the time that is necessary to get the lessons across.

If you are truly serious about learning how to composite invisible VFX shots that fool audiences, in a real-world setting similar to working artists, then this is the right course for you.

Meet Your Teacher

Teacher Profile Image

Vicki Lau

Multi-Hyphenate, VFX Pro, TEDx Speaker


Vicki started as a humble student of digital media back in the small city of Singapore with a background in visual effects in film and television and computer programming. Without any contacts or connections in the United States, she began her career at the age of 18 from Singapore, working her way up into the Hollywood film industry and landing her first break working on AMC's hit series, The Walking Dead (Season 4), as well as other movies such as Guardians of the Galaxy, War for the Planet of the Apes and the recent Aquaman.

Already recognized by her country and by major organizations as an expert in her field, Vicki has made great strides for someone her age, being in consistently high demand for jobs - averaging about 4 job offers and requests for intervi... See full profile

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1. Who am I and Who are you?: greetings and welcome to compositing for invisible visual effects and complementary caused to my two D nuke composing costs. And no, this is not part two of the cause. Stay tuned for that still, but a cause. Focus more on the other side of visual effects, see in visible and unseen visual effects. Essentially, I'll be walking you through composing two invisible visual effects shots from car removal to logo cleanups and subtle said extension tasks, by the way that you most likely get while working your way up in a studio environment. Yes, it step by step Guy will walk you through the importing off the original footage all the way to the final Render in submission off your completed shots. So I suppose you could be wondering, who am I to be teaching you? The subject, while quite simply, I'm Someone was works in the Hollywood film and visual effects industry for a number of years, letting tips, tricks and insights off effective visual effects techniques. I was involved in visual effects Impulse would actually look and TV had seen, such as emcees walking, Dead Net fixes the society and what if and blockbuster movies like Marvel's Guardians of the galaxy Wolf are dependent on the apes and man. That means not only in my familiar with all the industry tricks and chief that they don't tell you guys, but I'm also well aware of recent industry changes in the fuel of visual effects in Hollywood trends in general. So if you need more credentials, feel free to look me up on my DVR looking my instructor bio for this cause. On that note, I also like to know who you are a student just so that I can customize this cause and future calls content to you. So take a moment. Imposed an introduction post of yourself basically quick influence that your name and your goals were taking this cost. Do you want to take visual effects? It's a career. I wasn't looking to learn some tricks for your projects. Go on. It should be quick and simple. 2. What is Invisible VFX?: all right, so let's get into the definitions and basics here now. I'm sure you all have a general idea off what visual effects is, But do you know what invisible visual effects are? What do they mean, invisible at all? Visual effects supposed to be invisible well before I unveil the answer in the next lesson . Here are a few cruise invisible visual effects is like involve anything from dramatic alterations, off landscapes, sets and even actors in ways that are. And here comes a big hint not so obvious in the finished film. Some examples have been visible. Visual effects can include face replacements off stunt drivers, said extensions. Off backdrop, set replacements and footage. Digital mother flashes willing hits on glass, cross simulation, CG people, CG babies, aging or factors, crew and camera reflecting removal is driving shots. Etcetera. As such basically does plenty plenty now, with that being said, just how exactly are invisible visual effects being used in film and TV? Well, as were the purpose off any other visual effects. They are essentially used to tell a story but do not call attention to themselves. Unlike the dinosaurs and transformers off the film world, In fact, you be surprised. But the most innovative work tended to be invisible visual effects. So the purpose off this cost is essentially to show you the other realistic side of the visual effects industry. The kind of work you usually get s a composite ER, especially when you are just getting started. Also, it's nice to give these unnoticed visual effects heroes a little bit off attention, since the efforts in telling and selling a story don't get nearly as much acknowledgement as thief fancy schmancy visual effects you see every day. And yet invisible visual effects are perhaps much harder to pull off successfully compared to the fleshy CG eyes. Now, before we get ahead of ourselves, how about tackling this simple task? Post on a que enabled your response to these questions? What do you think? It's invisible visual effects? And have you done any invisible visual effects? Compositing before. If you have was fun or just damn annoying, go ahead, pauses Video right now and post on the Q and A board your responses to these questions. I respond to every post, so no voice will be unhurt Anyway. I'll see you in the next lesson 3. This is Invisible VFX: So have you posted on a Q and A board yet anyway? As mentioned in the previous lesson, invisible visual effects are like the unseen and unsung heroes that make all movies work both period films and even shows you think I'd focus on Lee on fancy shmancy effects. So officially, the definition off invisible visual effects in the film industry is that day. A seamless visual effects shots there are crucial to the storytelling in a non conspicuous and non flashy way. No, all films are heavy, fleshy C g. I. But nearly if not all films definitely have some invisible visual effects involved now. We did briefly covered this, but there for sure, different types off invisible visual effects out there. It generally is too broad off a range to talk about all of them specifically, but I would generally break them down into the following categories. Landscapes and sets, special effects actions, crops and objects, people and miscellaneous. Now we've landscapes and sets. The invisible visual effects generally involves altering sets, enhancing them or modifying them, transforming them from an incomplete sets to a complete one. For example, special effects actions then, of course, include your usual gunshots, muzzle flashes, blood spurts and etcetera. Just imagine if you watch these shots with doubt those gunshots and muzzle flashes that would be totally awkward. It's like you're shooting air and being injured by, If that's the case anyway. Props and objects include sort extensions, stabbing swords, medical CD I objects like the test direct in the Avengers, for example, pretty straightforward. Then moving on, we have the people category off invisible visual effects, which typically includes crowd simulation hearts of zombies. Yes, you production did not just hire 10,000 actors. What shot stunt actor replacement, human, aging, thinning and thickening off actors as well as removing off limbs, etcetera, etcetera. Again, a lot of interesting types of work for invisible visual. Thanks 40 category off people. And lastly, we have of Costea miscellaneous category, which generally includes anything and everything that you can think of that is not fleshy from removing camera reflections, fixing errors in shots, phone or monitor screen replacements are even removing tattoos off somebody's neck, for example. And, yes, one time I had to remove earrings from a baby. Yes, a baby. For some reason, the mother did not did not want them removed. But even then, if the production did remove them the hearings, the baby's ears would have holes in them, so still have to clean them up regardless. And, of course, yes, all of these categories off invisible visual effects can appear in any one shot in the film , sometimes even all at the same time. There really are no restrictions when it comes to invisible visual effects. Here in the end, goal off, invisible visual effects is many to be used to tell a story. In fact, any presence off visual effects is to tell and sell a believable cinematic universe off film world. It's actually to convince viewers that the shot or seeing they are watching is as grounded to reality as possible. So with that, let's go a bit into the history off invisible visual effects. Now it's been agreed by the majority off the veterans individual effects industry that the term invisible visual thanks problem again with movie Forest Gump, although it is highly likely that other films that came before hat used invisible visual effects before. But it was actually the movie Forest Gump that brought it to the forefront. For example, the opening scene or Forest Gump features a feather. That feather itself was an invisible visual effects shot, seeing how it is nearly impossible in reality to control the flight path off a feather. In fact, many other movies and shows, too, where you would have thought well shot on location actually included invisible visual effects work, such as in the show Ugly Betty, for example. Now, according to many industry vets and supervisors, they do agree that a trend for invisible visual effects is going strong, whereby in future, invisible visual effects will be the bulk off the effects. What could done in post production, especially with successful movies nowadays being heavily focused on less fleshy effects, as in the case off the movies Gone Go, Joe Ca and The Wolf off Wall Street. Plus is the fresh you ones, like Transformers and Underworld Blood Wars, with the exception off the Avengers Siris. Of course, those movies were just playing awesome. So then what does this mean for you? Well, as a composite ER, you can expect that 75% off the work in terms off shots will be something related to invisible visual effects, so don't think that everything would be one of those cool, fancy shmancy shots. Chances are those are rare, and you be working with a team to execute those fancy shots together again. The current development in invisible visual effects is that it is definitely a growing trend to watch out for in the future. You can only have so many relatable fantasy or side by movies, but many movies set in the real world with a realistic and relatable till anyway. Still confused. Well, that's why we have T Q and A board. So go ahead and post your questions that if you still have no idea what invisible visual effects up. But if not, let's get excited about the tool you'll be using for your invisible visual effects journey . 4. Software for Compositing: all right. So before we get started on actual hands on shots, let's talk really briefly about software as established in my other costs is compositing. Software used in the film industry varies from studio to studio. Some studios use and create our own proprietary software in house that will probably never hear off. Until they sent it, Obama was, in general use Ida Nuke all after effects for all off their compositing needs. Now all costs Here we will be using nuke. And if you have taken my other nuke cause you already know what I'm about to say Nuke, in my opinion, is used in about 80% off the big and major visual effects studios out there in the world. Now there are different versions off Nuke Nuke you gags Nuke studio. But for the purpose of this cause, I will be using a nuke x predominantly and recommend to stick to nuke acts in case you need some features that Nick typical and you could does not have. So if you do not have a copy of the software, you can download a trial version online or the non commercial version which allows you to use it forever, but just limits the use, offsetting effects and render sizes. And of course, you could also buy it, but it is super expensive, so probably want to avoid buying for now. Anyway, there are no additional plug ins or downwards you would need in order for yourself. Went to work for our compositing purposes for this cause. But just in case we do need anything, we'll discuss that when the time comes in the later lessons. Now, if you're all set, let's get cracking and let's get new kid. Uh huh. Uh uh uh, Yeah. Okay. I need to come up about a catchphrases. I know. 5. Interface Basics: All right. So this section is all about getting you comfortable with nuke, especially if you are totally new to compositing or just a super A e nerd. So no worries. I am taking it slow, acknowledging the request from some of my recent feedback that I was too much of a speedy Gonzalez. So yes, so never getting around new is very into it because, as mentioned in our previous lesson, nuke is contact sensitive and very easily customizable. Plus, you can always open up another instance often. Yuk. If you want to follow along on your script tutorial, for example, unlike after effects, it would actually not replace your existing work low open up over your existing work file. You create a new one I should see. There's two instances off nuke running right now that I have open now. Nuke is best done and never get it around with a mouse and a tablet. But both work, and I'll show you how to use both. Now, if you're on a walk on tablet, you just press and hold cult past. Click to move around and pan around in new quiver. Walk on and in present holders minimums button with four months to drag and pan around and nuke. So let's go anti clockwise here, starting with the top bar now the top body and comes very general macro functions and always big kind of big boy actions. And it's almost easier performer, shortcut keys and hot keys. Most time now, the most important drop down menus you probably have no is workspace, cache viewer and help. So very briefly workspace, as we've covered in previous lesson, is basically all about setting an ideal workspace for you. So let's say I want to go to composite. I'm going by the compositing I would scripting animation, etcetera, etcetera. Now cashes way I should go and clear up your memory space. So it I don't know. It's quicker render or in software preview and stuff like that viewer. You create a new viewer, as we've done earlier on and and help if you need any additional help in nuke with keyboard shortcuts, documentation or even, you know, just checking out the new key. Pdf on a side by Yeah, it's where all the rial tools are at r a k a. The effects slash notes Now a new good notes are what you were used to create those effects . So they're kind of like the effects layers in after effects. Different categories of notes here exist, and we covered this in depth in the next lesson on what each category does now on the screen is the viewer. Obviously, you can actually import a random emission to the scene and just hit on the number numerical key one if you're using a number keypad and should I am numb. Lakis turned on and a cause multiple viewers can be set up as well by getting control. I on looking up the viewer notes. So I hit tapped such viewer Same thing you can also do it is by going up here view and then your computer Not again. And a gamma right here is basically to enhance the view off your image. Interviewer, you were actually not affect your render. So if I let's say, increased the game right here and increased a gamma, it will not affect my final output, which would still look the same. But you see in this clip right here now more about this viewer. If you go over to this icon right here, this is the proxy note, and this basic allows you to downsize your current for this. You should see my numbers change here. Just look at that. Manama changed. Scale it down to allow me to have a quicker render a preview inside nuke. You can actually adjust the settings when you go to the properties Tackett as to bring up project settings and can choose what kind of proxy more you want to use when it's formatting. Where you give you a smaller scale, form it all your skill way 50% skill, which is basically half of this full size for men, and you can see what I'm doing right now. When I click on this icon, it's skills down my footage for the sake of the review. Now, a lot of cool thing about new is that it allows you to access a three D mode as well, and it is very efficient in you. So if I hit Tab, you can see I enter immediately into a three d scene what you would normally see in three D software like three DS max or Maya. If I hit Tab again, I returned back to the view tap again, three d. V. So how do I zoom in and zoom A. So, basically, if you want to zoom in and zoom on your viewer actually on anyway, else you just hit the plus and minus key can also do this in a note. Graph passing, minus and then say, if you wanna freeing everything up back to its original can hit African your frame things up, just like in your photograph can hit F. You can also hear the minimus button, and you actually do the same thing. Frame your viewer or your note graph up to the center. Timeline wise just hit home and end to go to the first and last frame off your clip and the arrow keys to go frame, my friend shift left or right to jump 10 frames ahead all behind. Now let's see if I have made in effect. I'm just gonna reset this very quickly. And let's say I've made some effects I had be and just gonna blood a crap on this just so we could see the difference. I want to do some a B testing. Do I need to create a second view and basically just put it side by side like this to do a B testing. Well, it's not necessary because in nuke, this is tool that allows you to a B testing within this one viewer itself. So if I hit W. And I changed this and be input basically, if I click on my clip one to set the as one and then I go to my blood no gonna hit to the number two and on to allow multiple inputs for you. You can see I already have an instant a B testing tools set up now for those of you who are reading you and this is getting a little bit confusing to you, how come I can use multiple inputs for my viewer? I see this thing is very unique. T Nuk, where you can entry, have multiple input plugs into a single viewer node and can change them it theoretically based on your purpose and use so multiple inputs into just one single view and note it's possible. And of course, if you just hit 123 and cycle between them, you can see the changes in a known graph to show you which one you're currently viewing Now what if I find that this tools a little bit annoying and I just want to see the foot of yourself? You can actually turn this off. This is called overlay and in new but the shortcut key to turn off the overly It's cute. Conceive, this is all text, right? Head of state is my overlays off. And now you can see that my tool gizmo is completely gone. I'm just gonna tend us back on. Go back to one was to input is coming from the original clip. Now, no graph. Basics held. I bring in effects What he's used Basically hit tab. And as we mentioned in previous lesson, you have to kind of know what you're looking for unless you want to scroll through this crazy list. But if not, if you know even the first letter of what you're looking for, let's say green you get hit G and nuke will be smart not to tell you which ones that with G and confining, use these in your no graph. I can't even hit Tab and you automatically detect the 1st 1 in a list. So that say, I want text. Do you see same thing. If I say h and I want the 1st 1 I just hit Tab and you after complete and so, like the 1st 1 Analyst So let's just practice that and bring in a bunch of knows right now , even if you don't know what they mean just to get used to the idea. Okay, Now, let's say is getting a little bit messy, right? And then you want to skill this up a little bit, so you have more space, but you don't really want to make this small in your default screen. So what you can do is in large each space. Do you hit space Baki and then minimalist, but click in convincing and last year, working space. Now, obviously you skill up the no glass so you can't see anything else. But you actually can do this with any panel or pain that your company hovering your mouse over. OK, moving on the curve at Attar for animation. Now we're not actually gonna uses that much, but let's say you have a few key frames. It's kind of like the editor tour in my Out three ds max, where you can basically a gesture curves. Same thing with dope sheet except is listing it based on key frames and set off a Okay, so we covered a lot right now in this area, but one about this tab nine probably saw a bunch off stuff stacking up whenever created new known. And this is normal because what newbie does this after I create something new, you know? Ultimately open up the properties in the properties Tack Too busy. Say, hey, have a know. Tia, do something with me now. You don't wanna have to scroll through all these. It gets pretty long and pretty annoying. So you see this number right here? It's basically tells you how many in a stat you want to show. So let's see if I said one. It only show the most recently selected a recently created node. Go to five in a double click on a few more. 2345 Let's see, we had transformed knife. I hit something else. You can see that transforms gone because the maximum we wanted to show what's five, of course can get pretty chunky. And you don't want to waste your time going individually and closing these right, so What you can do is that you see, this is the icon right here. Just like gun this our control shift A same thing. It shows you the hockey. I just think you're dealing everything from the properties tab. But of course, not the notes. So that's just tried it again. Go here. Control shift. A same thing clears out my properties tab. Okay, so that should be about it. A very quick walk through. Hopefully not too far. So you guys can follow now. Speaking of notes, how do we know which to use and when and how exactly do they work? Well, that's exactly what we will cover in the next lesson. 6. Nodes not Layers: Let's begin first with what the hell I know it's on like layers, notes a sawn off rise O Matic in its growth when expanding all directions whilst layers expend Onley upwards or downwards in a hierarchy, think of it as a company structure. Wonder is hierarchical, where one layer affects everything else below. Whilst Nuke is sort of like a matrix where there's no focus on the layer that controls everything, and you can spawn in another direction if you wish, like a web of notes. Anyway, let's start with the basics off what a nuke note provides. Now, right here, I have a bunch off notes. Don't be scared. I'm gonna go through what these means, OK, so if you haven't noticed by now, based on the past lessons, how do you create an effect? Is basically you have something that's a clip off when it sure and you basically input that using the input pipes now in nuke, each input pipe will be labeled with something different, so I can see that a basically means my first input B is my second input. Whatever they are labeled, those arrows pointing inwards are basically what you would call them s the input pipes. So I'm gonna import. This does. For example, I'll input a to becoming from this clip, and I'll input my sauce to be coming from this clip. Now it's gonna see. I can use one clip for multiple inputs, so that's good. It's a space and saves a lot of time. Now the output is you see these arrows pointing downwards. Very straightforward, right? Each. No, we haven't output arrow pointing out, and it's usually a single pipe, a k a row and usually unlabeled. So let's say I want to create something on top of this. I just up with the arrow too sheer and instantly connects to the input pipe off the next. No, Now let me just say it again. Out. Aargh! Input arrow. I connect these two. It fills out the input arrow. Now, if I want to automatically connect the next note, we're not having to do what I did just now, where had to manually pipe it in under select on the note hit tab to such whatever effect you want. Let's just say I want to make a levels level sentia hit. Enter and you'll automatically connect the two together because I selected a previous know . Now, if I want to remove a note from this and my scene gets a little bit too big and you know what I just do it is. And then just do that and then pipe it in again. You can basically click on the note, control the orca, Mandy, and you're automatically detached this for you and potential input. So the media makes sense. If I used this, that's Eva. Connect everything here. I don't want to manually remove these pipes. So what I can do again? Click on a note control D and all input pipes created. Now let's say I want to replace and no, that's in between a flow. How do I do that? You're gonna know while dragging press and hold control shift at the same time. And I move over the note on a replace, let it go and can see instantly replaced that note. And not only did I do that, I moved that replaced Note to the exact position of where this guy waas initially. Now, do you understand that some notes will be used more often than others, so obviously there will be shortcut keys. If you haven't noticed by now, I've been using them throughout the entire software. Of course, B is for blood. Eyes for read. Note. I'll be useful. Right? Known M is for much all kinds of shot khakis. What a commonly used notes used by many artists so unknown is like and can even be similar to what you would count as a group off layers of pre come almost in fact, the efficiency of notes and redoing all undoing work by disconnecting and turning off, any node in the Web is designed such that you can make it narrative and quick changes of Little Hansel a B testing with nose in layers, I never fired the viewer or even as a separate spin off from the known Web. And even checking before and after clips is easy with the switch back and forth between multiple view outputs once again showing the problems off using a no based system instead of a hierarchical, layer based system. On that note in the next lesson will be touching more on the different taps, panels and windows and nuke. Oh my 7. Tabs, Panels, Windows: So we're taking a break from notes and talking more about taps, panels and windows in order to understand a nuke interface a little bit better. In fact, this is so important that I'm teaching this to you as a whole separate lesson. Now we'll start where the different work spaces new provides and uncover what nuke acts and nuke studio covers as well, beginning firstly with layouts. Now there are different layouts and exists in nuke for different purposes, similar to what after effects would show you for different work styles. Now the compositing work space is the most commonly used and is company. What you see right now in new, occasionally scripting all animation may be chosen. Three D combusting. When I get to that is quite simple. You just hit Tab and you enter three view. I can't like what we come in early on, and you can actually does have a bunch of three D based knows that you can use when you're in this view. Stereoscopic compositing, however, can also be set up way have to views and were actually covered that in the future. Now my favorite, it's really just sticking to the basics of using the basic compositing default. And that is because it is so efficient that you would find at the default itself is really all that you need or care about. Okay, so that's a very quick intro to debt. But what are the differences and similarities between Nuke Nuke X and your studio? Well, I could log into all of them and show you for the whole day, but I'm gonna let the foundry, which is the company in the credit Nuk, do the talking. As can see here is a very quick breakdown off what the differences are in terms of what's provided and what is not. Now. I actually possibly never used Nuke studio before, but apparently the studio is like trying to be the adobe production sweets all in. What to see. It has additional features right here. New X has three d and tracking capabilities, which is why we're using them now in case we need them in the future. And I'll, of course attached just link at an external resource in this lesson, and that should be about it for taps, panels and windows. In the next lesson will get back and cozy with nose and dive deeper into the different groupings 8. Categories of Nodes: Okay, So if you haven't experimented on notice by now, Nuke offers many groups off different types of notes, similar to how a E offers many groups off different types off effects. And right now we are going to be touching on all these categories individually. So let's be normal and start from top to bottom on the various types of notes offered by nuke, beginning with image notes. Now, image knows are basically pertaining of things you can do with your import or export off images and creating inbuilt image elements, for example, constant, which is also well known as they're all solid in after effects, check aboard and also color bars. Basically all these which you would normally have on set and also just have at the start off any test composition. Next, we have draw notes. Now, draw notes on notice that basically allow you to draw things. Factor based or not, and basically, the image tools allows you to create images inside of nuke without having to import them. So, for example, noise if you have an image, you create some noise. You can see this is very similar to after effects fractal noise, Radio Crease suckled Basically rain Greeks grain obviously rectangle, basically generating more procedural based better elements inside your calm. Next, we have time knows Now Time notes are basically dealing with time distortion. Time warps an actual time travel in the sense of manipulation off your frames. The commonly used knows are basically frame hold, and I'm actually going to bring in a frame, actually, what can just use noise? White example. So I can see my frame is held at zero because I said it s frame zero frame range, which allow me to basically said Listen range to playing back in C Yeah, and it just changes to input. It can see this change 20 time offsets, which allows you to offset the time. Let's say, if a minus 10 you're basically shift is forward by minus 10 and time wall, so these are basically commonly used notes within the time settings that allows you to manipulate and adjust the time in your clip. Next, we have channel knows now Channel knows, basically allow you to deal with your RGB a off your image which is basically your red, green, blue and Alfa off any image. Also, the metadata and basically information start in your image in any time. So Shuffle Channels is a very popular one that basically allows you to shuffle the channels between red, green, blue and Alfa. We'll cover this more in detail in the shuffle lesson. We also have the copy channel. It's the analogy to copy channel values from one note to next, which is gonna be being, for example, at the At Channel known basically allows you to add one channel so it could see on it at a channel I'll put to one channel, and also we have that removed. So pretty self experience allows you to add or remove channels, and next we have the color knows now cardinals obviously dealing with color, correction, color management and color space off your image color. Correct, as you can see, which wants a popular, basically, because these notes have hot keys that come in better in the software kind of look at it and you can see the difference between the two. Great is this another popular one that many people use using The G key brings upgrade, invert and locked to live so you can see most of these notes have a similar tints or color to them to tell you which category are group they are from now. This is not all. They're going to be the same. It's conceded lots of lean. It's kind of like a different color, but in general most of them are simmer in color to help you differentiate between the different categories. Next we have the filter nose and a filter knows that seven of the 40 shell filters said I'm like layers and extra effects. You applied your images. So, for example, blood de grain, which basically in self explanatory we should not you too d grain your footage alone You can Essam glow to your clip you see on me Just go. No! Hello? No median. It's the averaging out Joe image. Now be careful not to do it is too much all you actually crash your nuke. Just gonna deactivate yet motion. But, uh, shopping basically all kinds of effects. You would expect it at a filter to your image. All right, Next we have de gea knows Now these basically deal with bloom a Kromah and difference and all kinds of keying you could possibly imagine in new. And this is normally where most people's thoughts on visual effects would normally gravitate to, you know, because most time to see green screen, this is where you basically t your clips. So, for example, Hugh Kia, which is self explanatory and lodged a key base on the hue. See a kid is out. Hit age. Good Alfa Channel I B K its primary, which is not available in a non commercial version. Ultimate also not available in the non commercial version. This is a non commercial I'm using and then, of course, key light. Now you might have seen this in after effects, and this is actually by the foundry, which is the company that created this software. So next you have the verge knows now merge notes are basically all kinds of knows. That allows you to control the layering of multiple images together, emerging them violate. So, for example, key mix common one if you will use where you input A and B any control mass to another. Mixing off the different G's contact sheet basically allows you to lay things out like a thumbnail copy. Be bucks all sauce off things. Now much is actually the most commonly used note, and we will be using this lot. Hitting em brings up that much known as well. And, of course, three months un promote again. We were covered these in detail in the later lessons. Now transform. No, it's basically deal with translation, rotation tracking and any kind off image transformations. So, for example, obviously transformed if I want to move, this skilled is down. For example, caught three d gives me a three D card from no gonna pin lens distortion Re full met. Basically, these are very common knowns used, and you can actually search them using the tap. And in just such within this small for some worry full man. And I bring this up. There you go. Now next, we have the three D knows. Now we'll cover three D composting and all things dealing with nukes three D workspace simulating a three D environment in separate cars. But for now, just understand that these are no is that deal with Newt's three D environment and world space can like a meaning three d software in a compositing software, which is pretty cool. So, for example, geometry, you can create a geometry. You can read a geometry can write the geometry. You can basically create one like a cylinder. And how do I view this? Just hit one on the viewer and the viewer instantly changes to a three D view. I can see I just created a senator in my three D C lights. You can even create lights if you want point night. Who they go get my point light. Oh, Shea does different kinds of shade is very similar to what you see in my, uh, camera. You can create a camera. I can see. I just did that critic camera camera tracker, which is a three d camera tracker in nuke and then scan line render. Now, this is normally how you would output about your three d view into two D. But we're not going to cover that in this very quick overview lesson on nos. All right, so next we have part of goals in New X and NewCo studio only. It's basically for creating actual particle effects in nuke a stretch again for this very basic cause here, but anyway is kind of like creating your smoke and fog, etcetera, etcetera, insight new. So we have particle and Mitya it's, um, kind of creating the stream of random particles right now. Particle bones making your particles bounds in a cost particle geo. So basically creating a particle effects that would then output to geometry. Okay, so next we have this d here, which represents deep. So this is something new that was introduced in nuke, basically dealing with deep image compositing where each pixel can have multiple values again. A bit too much advance for this car. So we'll cover that next time in the future. But it is basically using debt for data and hence the word deep, deep compositing as in depth compositing. These are basic common standard compositing notes, but customized specifically for deep compositing. So, for example, deep color correct, which is largely to come. Correct depth images, deep crop deep transform so deep, right, all applying to one on multiple channels, including a depth channel basically for deep compositing. So thanks, we have be eyeball this getting we have the view notes basically dealing with stereo or multi view combusting. So if you want to make stereo, it shows you're different kinds of stereo can make, For example, and a cliff. Let's see how it looks. Oh, that doesn't look that fancy. Okay, what about joining views? Basically, you and I want you to create two views and enjoying them. Decreased aereo are shuffle views, etcetera, etcetera Science, decide my site stereo again. We'll cover this in the future. Okay, Next, we have mata data. Now matter, Data notes up for your self explanatory. Basically dealing with information embedded in images kind of like to follow properties that you never really get to see. So if you want to view files properties, we're not going to your folder in Windows or Mac and checking it out. That way you can be. So you think a few math of data and then you can see what probably have not created this in nuke, so obviously doesn't have any properties. But if you have a footage, for example, I can actually view the matter data for that clip right here. And of course, there's copy meta data, which allows you to copy the metadata from one piece another image, basically allowing you to manipulate the baseline off any fall information or embedded data . Okay, Next we have this tool sets notes. Now, these busy do with custom tools created in yuk. I only have a few right here and can be useful if you find yourself creating the same set of military Peter I had to do is basically grew them and create a custom tool. That's then end better into this group right here again. You can also add in your logo or customize gizmos, etcetera, and we'll touch on this in the future as well. Okay, so what's this weird box here? Basically other? No. So, I don't know, specially contained additional notes that tend to be rather random or sometimes even your plug ins to, like miscellaneous? No. So, for example, I click update. It should show me my list off random notes and I can see all the random plug in space on alphabetical order. A lot of random knows. I know lots of stuff. So, for example, random note audio read. Where do you exactly put this? In the category? No idea. So dump it in other. So all you re allowed to read audio? I've never used it in my entire life. But now I just used it so I can see I use it first time for everything. Okay, backdrop, which again will cover it is a very useful no to organize your notes in layers. It could see this is getting pretty messy right now. Postage stamp again and not a useful note. And I want you to copied a layer without increasing your file size in all other plug ins. Okay, so lastly, we have the furnace Corneau's Now what the hell are fun is called. Basically, it's ah, set of plug ins. They're now free in nuke basically anything that has an F underscore in front. It's belonging to furnace call. So it contains popular furnace plug ins that were designed to enhance workflow and boost productivity with new artists. So, for example, re grain, so he allows you to base. He said, grain and use the sauce too busy. Apply this grain too. Rig removal. Pretty random stuff. You know why a removal? All that jazz. So once again, very different capabilities provided by nuke already for your use, depending on the situation and compositing requirements. Now, you might be thinking that that is a lot to Heather right now. So how the hell am I going to remember what is what? Well, here is a link to the node reference guide, also linking it as an external resource. In this lesson, basically everything you need to know about what each no does and it's capabilities, it's all in there. Speaking of capabilities, let's move on to debt and seeing what nuke is truly capable off. 9. Understanding the Problem: all right. Now that we understand the basics, often visible visual effects let's talk about what makes one effective, not effective. Invisible visual effects does not draw attention to itself a k A and maintains anonymity and an invisible status throughout the entire shot or sequence. For example, it off effective, invisible visual effects. Basically, those that don't tell the audience is that they are made on computers, but keep the story going. Examples off ineffective invisible visual effects are basically, for example, the bad human character from these copying king the money. And you can find a lot of these examples on YouTube by basically such involved bet visual effects in movies. That's essentially the key. An effective, invisible visual effects exists in order to add believability to the shot, mood or feel afford a plot line. For example, Captain America being skinny and then muscular. And that's basically an example. Often invisible visual effects because ineffective, invisible visual effects exist simply just to exist, which is not good. So, for example, here's a an interesting parody on YouTube. Obviously this is faked and, uh, really clearly a parody, but imagine how fun Iwas if that was actually really Okay, now let's start with all very first invisible visual effects shot. Now, I chose something simple to represent again the kind of shots you may get in real life too . Um, so this shot now I just imported this shot into nuke and you can see is basically a very simple shot. It's just a shot off a project that now, if you're curious about where I got this from, it's from picks, Obey videos. And I've linked there into the resource is tapped for this lesson. She has finally some fantastic footage to work with for visual effects, anyway, but yeah, So that aside, let's just say that for this shot, the producer was not able to secure the rights to clear this brand name showing right here and wasn't move this absent brand and replaces three. LCD was something else. She didn't say what? I didn't mention anything, but just basically replace it with something else. Okay, so let's start basically, by importing the footage into nuke and analyze the clip inside nooky. I really did the importing. But in order for you to do that, basically, what you need to do is let me just stop the footage playing You just open up your folder and drag and drop the file clip into the nuke note graft tab right here. So if you just played his back in any kind of media player, you can see that there's a little bit off a movement into shot. It might seem stationary at first, but actually there is a little bit off a movement visible in the shot. So with that in mind, we know they're okay. We have to track this clip and then off course, remove those logos that the producer want to remove. Now I'm gonna hit Space bar so I can view this tab in full screen in the viewer. Now, we're gonna analyze the shot as you when you receive a shot of Simon and can see that we have some blanks here to use two replaces and we'll think about what to do with this After you asked Producer what we're going to replace it with. And now it's no money how you would work in a real studio environment as well. So this is how you were basically start working on your invisible visual effects shot. You get a good grasp off the task that you have to do first before getting into the details and before even starting walking on your clip. Because, remember, is the very basic things that put people off its base by to go back to the main user interface. And let's just finish setting up this project. Now, if we double click on this, we can see that details off this clip and basically want to just make sure that we check the auto. L for this will come in handy later when you try to roto unmask anything out using this clip. All right, so let's actually saved this script. But first, let's go to the Properties tab, Hover your mouse over this tab and hit s You can see it brings up the project settings. I'm gonna adjust the settings. Akademi. Now we are going to set this project at 29.97 frames per second, and I will explain in later lessons why we're using the stream rate. But for now, we just do it like that. It's enter. I'm gonna rename our clipping and photograph. You also double click on the read one note for your footage and then I just renamed his original shot. You don't have to type all cats, but I like doing that because it's my style. Hit. Enter. To save this, you could see the note. Name has been changed from Re 12 Original shot. Now I'm gonna finally save this clip. So hit control as a commander, as if you're on a Mac. I'm missing the Save this in this part here. You don't have to save it anywhere specific, but you have a full day set for this project. Go ahead and create one and save it day. And how you save this file is you type the name off your fall into this blank right after this forward. Afford slash. I'm just gonna call. I'm yours. Gonna set today's date. I should say 20. As in 20 twenties. It'll one 19? You're just my days over here. Today on this car projector shot or one. This is my first shot, Simon. Some just capital one. And that's going. Maybe your name initials like my name is Vicki. Vicki. Laos, RV, Lau. You can use your initials and and a virgin number, vision or one so again. Date, year, month, date shot to name a project name of You have won the number. My name An implosion one. You just click, Save. You can see that over. Shelia Tab has an update it with your name off the fun. All right, so now that you have to set up, we're gonna go to the next lesson where we're basically going to talk about clean plates and patching as we talked about it earlier. When we analyze this clip, we're gonna use some areas over here to replace this absent name right here. So I'll see you in the next lesson. 10. Clean Plates & Patches: first things first, let's tackle the concepts off clean plates and patches. Now, clean plates are usually empty pieces of video or still image off. Your senior has the exact same composition, lighting and camera motion as your final clip, for example, is the background of your scene, usually without your subject. All other objects in it, in other words, place their shot clean with no movement actions, elements or actors in the foreground, usually just a background played itself. Sometimes this is also Noesi background plates as well. Now patches. Usually it's just a smaller subset version off a clean plate or smaller piece off a clean footage or part off a cliff used to clean something up, so especially used to patch up or hide something in a shot. So think of it this way. A clean plate is a full frame, clean footage while the patch is a piece off footage that could either come from a clean plates or the actual film shot you're working on itself, so let's actually start preparing. I'll patch and set it up for the shot right here. Now the nature off the shot calls for a patch. Since we do not have a clean place, and we only addressing a one small area off the shot so well business that finding a piece of clean, unaffected area on the projector and then use it to basically over laid is absent name right here. So the first thing we had to do is basically freeze frame a patch because we don't want a patch to have a love, grain and movement, especially if there's movement in the shot first. If you're wondering how I zoomed out of it, I just click on the minimalist button whenever I'm zoomed in. And this applies to the no graphics, well centralized oil notes into one area. Now let's just clean up the properties. 10. We just hover over the properties tab. Click on it if you wish, and press control shift AOL command shift A to clear your town and a nagar gonna basically create a frame. Hold now hit tab and inserts full frame. You see the thing that says frame hold that basically means you want a free strangers so hit enter and then we're gonna pipe the input pipe into the shot hits one to set the viewers of you the frame cold. You can see Right now there is no movement in my clip, no matter where I am in a timeline. Oh, and firstly, before I get to timelines this clip being quite large and in terms of frames and off resolution, I clicked on the proxy mode right here. This little icon this and shows that when you pay it back is not gonna take forever to pay it back. So make sure it is highlights and rid o kind of, you know, Red icon here means this active. And there you go. So for yourself over like this, it resets to my original resolution. Think this is proxy, so I'm viewing it in this lower resolution for faster feet back and results. All right, so now we have the frame hold going to double click open it up in the Properties tab, and we're gonna find a nice frame to hold it, and it just so happens it's frame zeros. What's probably find for all scenario. So now that we have that, we're gonna basically create a roto to rotate this patch out. So hit Click on the North graph hit tab and type roto to bring out the wrote a note, and it's basically allows us to create a mosque wherever you want. So double click on this. Make sure this accident properties tap, and I'm going to start basically drawing out a little piece of area here. The roughly measures the size and width off the absolute logo. Not over the absolute over piece off a clean patch right here. Doesn't matter how many points. It does not matter for this case and close it and that now, if you're wondering how I created those smooth points using click Press and hold the left mouse button in order to create and drag out a smooth point All right, now I have just done. I'm gonna pick one of the points press control A to select all the points and you can see that your mosque is done. Now I'm gonna basically create a mosque to master area out front. A frame hold. Go over here. Hit em to create a much and you can see that little area right here. You pull this out, its shores mask. It means I want whatever inputs coming in to be the mask off this note. So I'm gonna move this over to the photo. No. And in a input, which is the one we're gonna use as the original layer for the mask pipes back into the original shot. Now, to click on this much not once hits the number one to set the viewer to you. And you can see we finally have a must out clean patch for this nice area. If you want to check the Alfa Michelle, Hamas is hovering over the viewer. Tap hit a to C over here. Checking a alfa is present. Weizman's means visible black, not visible. Cool. Now that we have this patch now, if you play this back, basically make sure your mouse is having over to view. If it Elke, you can see that this is not gonna work because obviously your shot it's moving. We actually piped a into the original shot, so there will be some movement and that's not what we want for a clean patch. So, in order to solve this problem, firstly hit K to stop the playback, we are going to re pipe out into the frame. Hold now, watch what happens. Actually, nothing really obvious gonna happen, but partner a into the frame. Hold. It's one. You got the same outcome. But because this is a frame hold, that means there's no movement in the clip. So if you want to check this out, click on the frame. Hold. No, it hits the number one, and you can see wherever you go. The footage does not move. And that is what we want in creating a clean patch. All right, cool. So now that we have this frame hold, let's temporarily move this patch over to the absent note. So I'm gonna take on my merge. No, it hit number two to set this as a second pipe for the viewer. And actually, this is if you are new to nuke, you want to swap between the two different input pipes, one of us, and I'm basically gonna move this piece over to the absent note. Now, you can just move like this because you're just moved a mask instead. And since your mass is also active in the properties tack, so what I'm gonna do is clear my property set so hover over the properties type control shift. A are common shift eight of clearness, and I'm gonna go to my no graph it t to create a transformer note. Now I'm gonna pipe this input for the transform note over to the much it's one you can see that my transform noticed active in viewer as well as my patch because I put the input to becoming from the much one note, which is my clean patch. Now, this doesn't look very nice when you try to control this. So in order to adjust the anchor point, what we have to do is basically set this anchor point to the center off this patch to make it easier for all cells. So I'm gonna press and hold control and whilst keeping a control press while my mouth is in the viewer clicking dragged us and put it somewhere in the center of this patch. Right now they have that I'm basically hit the n key to bring on the merchant. I'm gonna pipe in the A to the transform and be to the original shot. Now, if you're confused what this means, Basically there is the other basic new cost to cost, which have which will cover Audis in detail. But I am put very quickly. It's just the one that's gonna be on top off being so think of it this way. Bees. The bottom layer is the top, not I have debt. Click on a much to pit one. You can see my viewer is now loading the combine results off to now. I look the same as the original shot because we didn't actually move out. Transform? No. So I'm gonna actually move it right now so you can move this interviewer. So move your mouse into the viewer, click on this and drag it over the absent. No. Make sure your viewer is looking at a much too so you can see the results, Preston. Minimal abundant of zoom out to fit to frame and night to see that My patch especially covering the absent text. And there you go. Now, very minded producer also wants the end shot to have this logo here. Three LCD to be removed. So let's address that in this lesson. This Well, now for this section, we don't actually have a relevant clean patch. It was just too small for us to keep using this area. So what we're gonna do is basically just have to create one from a similar area that we use earlier on now. Pro tip in the industry. Unless we are designing a logo from scratch at the last minute visual effects composite is ready going to photo shop and it don't stray away from using pieces off the footage itself . So let's think about it. What can we use to mask this over here? Well, how about this area? The clean area next to the absent Tex initially. So let's do that. I'm going to create a quick patch from this clean area for that square logo. So just to make sure that I'm viewing the correct shot and not accidentally bringing back the absent tax into this mask, I'm going to click on this original shot hit, too. To view interviewer, I'm going to create a new Roto Mass. So hit temp type Roto scroll down to the Roto note hit, enter and amaze. Going to double click. Make sure that my roto notice active in the properties time, I'm gonna create a raft mosque that looks roughly the size off this thing. Now, here's a trick. You can actually just mask it over here, and I recommend sticking closer to the edge is because you want a little bit off a freeway , Teoh, create a feathering effectively. Iran and I have this mask. Select one of the points control Air Command A to select all. And you can't remove this mask around because again, it is not using the emergency to view or clip out shot. So you're not really affecting all moving this area itself. So I'm gonna move this over to this spot here, and it's clean. I can even try here of your wish and not I have debt as usual. We're gonna set it out the same way I'm gonna clean up my no graph a little bit making more organized and move. The viewer here hit the M key to be on a much note. Drag this little arrow over here. That's my mask. In a key to my frame, hold hit three to create new input pipe in. There you go. Now, this is not the transform note for this mask. The reason why it's still showing up here is because it is open in the properties tax. So remember to always keep clearing your tab in order to make sure you're not confused especially if you're new to nuke, so hover over the property's tap control shift. All come on, shift a clear it. There you go. So again, as usual, hit the T key to bring out the transform Note piped input to the much three square is and then now hover over the viewer. Present whole control of command. If you're on a Mac, impress and click and drag your little anchor point here too centralized to the square And and again, we're going to create a new much note to view shot. So hit em A small transform B is probably gonna be this one. We will organize this a little bit later. It's one to view this. Don't let your transform mixture. It is the first note. You're seeing the property step and I can press hold and drag your square and temporarily put it over here. I can see it doesn't exactly match what? We actually address this problem later. There you go. All right. So because I like to keep things organized, I'm basically going to reduce these much notes to just one. Now, if you move over to your much too, you can see there's an a to pipe right here. I'm just going to basically dragged us over to the transform. And if you hit one on a much to you can see, it gives me the same result. Steve, much full and again emotional is that useful where it can create multiple layers on top off each other. Now, I discussed what the A one a twos mean, especially when you get into more complex shots later. But now that we have these patches in place, the next thing we have to do is basically to color. Correct him as we can tell dispatchers and exactly measure colors and the lighting on this area. So that's what we're gonna address with color correction in the next lesson, make sure to save your file control s all the time, and there you go. 11. Color Correction: All right, So now that we have the 10 patches set in position, let's start tweaking the color correction on them to make sure that they matched the projector skin over here. Now, there are many color correction, nose and nuke such as the hue shift. Do correct saturation and color correct notes. So I'll let you explore the notes on your own, but very quickly. I'm gonna go through some of them right now, So I'm gonna hit tap search for color. Correct hit, enter. And basically, I'm gonna talk really briefly about this color, Correct? No, I'm gonna should bring up the rest of those two. You don't have to do this. I'm and you're just gonna talk right through what each of these notes do. So we have the deep kind of correct or just something I talk about Well, and also D you correct? All right. So let's just first, that would be covered. Correct. Eso basically is conceived here. They're different control panels for the color correction. Nobody master channels mitt tones and highlights. So this basically means Okay, So for the master, which generated controls everything from the shadows, metals and highlights the entire image of South. Basically, you can control the saturation, contrast, gamma gain and offset, and you can't even go into each specific details. So, for example, if I wanted to adjust e doctors areas, all these shadows in my clip, only a justice and intimate tones is just anything that is not a really understand, under exposed or over exports area and, of course, highlights. Next, we have the deep color correct. Again you can see it's almost like the same replica of color. Correct. Except this is meant for depth layers. So, for example, if you have any three D stereoscopic footage, you would be using Deep Teller. Correct. Obviously, if you have any volumetric footage, anything with any depth in it in a three D or 40 space deep color correct is the same exact replica off the color. Correct. No calls. Find me we have the shoe, Correct. Now, basically, the issue corrects node is very much more easier and something that I prefer to use, given the visuals that you get to see here. So for the purposes of this lesson, we will actually be using the huge correct Not now. Both access actually adjust the Hue. Uh, the X X is basically tells you where the pixel lies in the current hue saturation. So, as you can see, if I hover over my foot and you can't see the cross hands forming to where they think my pixel value lies an issue saturation. And then why exes basically is what you're new saturation would be beginning with his default value off one. So, for example, if I want to change this and justice value, they say I just present or control click on the spot. You can see the holes a point here. I can actually adjust this point to move it up or down or sideways in order to control devalue off the shoes. Now you are free to experiment with this, but I prefer using the issue Correct note. Since it's something I'm more familiar with, and I like the look off the notes options again, if this all sounds pretty confusing right now, I met you gonna lengthy Hugh correct and notes, properties and description on the official, the foundry website for you to read into detail about what each of these attributes mean. But for now, in general, color correction is about attempting to color correct and majesty colors to the surrounding portions off the footage to ensure that whatever elements you are adding or replacing with will seamlessly blend with the clips portions. So let's start with a patch covering the absent right here. Now it might seem as if you don't need to do any color correction, but don't be fooled. You can see there's a little bit of an outline over here so that I'm gonna delete Audis and keep the Q correct note and pipe the issue Correct input pipe into the transform note for that patch. Now, we just wanna make sure that this is the correct patch. So I'm going to scroll out been sorry that my screens, it'll be delayed. Double click on the Roto. Yes, it is. And now we pipe it into the transformers. Laters note for their patch DoubleClick. I'm gonna re pipe that a one pipe off much no into huge correct. So I can actually see what I'm looking at. So click one on much, and now it should be looking and much to note, interviewer. And now we're gonna basically properly adjust these values in the RGB channels and you don't do that. Let's switch our viewer to a different channel views. And you can do this by basically hovering your mouse over the viewer hits RG be a now we're not gonna do anything to the Alfa, so just gonna focus on the RG beats now the benefits of using different channels in color correction is the accuracy. Instead off relying on your eyeballs since eyes can be inaccurate, depending on the person s well as the lighting in your room and computer screen monitors might have different display settings across different display monitors. So I'm busy gonna adjust the saturation and a luminous because I can see now if I control shift over the properties time, there's a little bit off darkness in this area and also that would be ideal for adjusting Luminant. So I'm just gonna double click, make you correct node. Make sure your Rotondo is not active so you don't have the distracting outline in the viewer. Click on the dominance which is shorten as Lum and basic gonna justice each. And the RGB is now Make sure your house is hovering over the viewer. Hits are OK. You can see that it looks pretty dark. I'm gonna present whole control and click on the point here to determine where my value off this pixel lies. So, somewhere around here, So I'm just gonna just this area now in all the way. Just as I said, you can move this up, down or sideways. So I'm gonna present hold my left mouse button and drag a little translucent box. Here, let it go and see Absolutely to two points. Now, I'm gonna move this up with down. You can see my viewer slowly rendering out changes. I think so extreme to see the difference, writer or doctors can see increase in value brightness for luminous decrease. Doctor, I'm gonna really briefly justice right here. Have on my mouse over the viewer hits G. The check that looks a little bit too bright as well. Just a little bit later. Now that's going to saturation. Click on the set, which is this little area right here and again. We know that this point falls around here is I'm gonna present hold and drag out my levels Bannon to create translucent box that ago R g BCE in my viewer, my computer is not that snow. But as you're not a bit to kind of see, the area are jeebies. Drag this Taliban? No, but this is just a very rough color correction. You can actually go into much more detail by actually adjusting each of the RGB. He's over here surprised. He looks better for something that adjust all the channels at once. Saturation. Donna Been. Now, if you see that is still no exactly blending. That's because our interests to shop will address debt in the next lesson when it comes to blood. But for now, I would say that this is actually kind of OK. Now switch back to the normal viewer. More. I click my minimums button to Zuma and fit the screen. If you're in any of the Aggies, remember, you can just hit RG or be again to get off the individual channel moan. And as we talked about the patch has little edging. That seems to be a little bit obvious, but again, you can either create in on a photo off this area to adjust e patches all again. We'll do the blood and we'll get to that a little bit later. Now let's move on to the patch on the right, which is much more obvious if you ask me when it comes to set off debt non seamless. Look control as to say it. Make sure you're always saving and I'm going to apply the same shoe. Correct. Now clicked on the transform hit tab. Such you correct Enter and proceeded plants in right in there with a two input pipe automatically. When a control shift A So my properties time is clean. Double click on to correct to make sure that this is the correct one. And then to get according to D RGB channels. All right, so much you're going to let you guys try this on your own. After all, that is the best way to learn. So I'm gonna let you actually do the color correction yourself. Using your best discretion, we can use Newman in saturation. Any of them feel free to experiment, and I'll be right back with how I did it. Okay? And once you're done, you should have something like this. Now is gonna take a while to play this back, and my computer's little bit leggy. But in general, you just see that your patches matched the surrounding area. And if you're curious, what I did that will kick you color. Correct? I basically went in and adjusted Luminant since off this past year to increase the brightness of the patch and then brought the blue down a little bit in order to make it match roughly in a blue channel. You can see right here. All right, Now, you might think we can pretty much rendered this, but hold on. We have to always make sure our patches attract in case the shot actually has some subtle, invisible movement in them. So, in the next lesson will stick those damn catches toe a projector we're tracking. 12. Tracking in Nuke: All right. So before we move on to tracking, you got a note from your supervisor saying that. Okay, so this shot is looking pretty cool, but I want something to replace this area. Remember, the initial note was have something over this. So since the person did not specify what kind off logo I Connor one over there, let's just create a very simple one very quickly before we start on tracking. So based on this new notes from your supervisor, I'm just going to click on the original shot hit number one to show what the shot originally has inside. So we're gonna basically replaces area where, Let's just say the E. P s text here. So same thing as you've learned, feel free to do this on your own. But if you're still new to nuke allergy, walk you through this very quickly. I'm just gonna get tap type roto to bring up the roto known, and I'm basically going to move this over here and start drawing an area over the E. P s as close as possible to de text. All right, so I'm gonna just justice photo. There you go. Next thing we do this usually can do this on your own, to hit em to be on a much and we're going to basically drags. It'll Aero mosque to the Roto and a will be our frame cold. Now, this is getting a little bit too messy. So in all to make this note graphical organize whilst your mouse's in the north Graph pressing whole control or command of you're on a Mac. You see this little dots showing up That basically is the dot know. So you can also create this by basic hitting on a period key, and you can see increases. Don't know, delete that present whole control or command and then click on to see a little diamond. You can create a dot known. I'm actually gonna quickly organizes this. Well, go to create another one could gonna still damn in here. I'm gonna move this here to make it will be more organized. Same for these two diamond again President Whole Control Command to create those dots. All right, so now we have this click on too much for hit too conceded. This is what we just created and it's usual control shift A with properties of clearness I'm gonna have to transform so quick under much tea for the transform when oppressing whole control command to just the anchor point while still transform notice active very quickly. It should not take too long. I'm gonna go over too much to see a three over here when a pool and dragged us over to transform three, and I see how it looks. All right, so then I'm gonna move my GPS, DoubleClick, transform, press pull and drag GPS. Gonna Rafferty, put this over here. See? And now we need to do some color. Corrections would transform no active West had such force. You correct, Anto And very quickly gonna justice. It's our g b. Just a check it Very briefly Justin Luminant sex. We know practical control. Just e minutes. Watch be blue channels. It took bright first control shift air command shift a big he and the viewer to set us back . I could see very quickly. We already have a new E p s logo. Overly. Now that entry looks like it's cutting into it a bit. I'm gonna justice Don't like my roto justice. Bring me a little bit of that s in there. You go cool. So now we have adjusted. I'm gonna organize my no graph press and hold control. Well, command drag out, still dot Personal control Command got this nailed up. Now, since we're having to do with a one twos and threes, as you can tell, the is obviously on top off the B pint for the much. But as you use more A ones through threes to increasing numbers especially like after effects where the higher the number, the higher the layer order is. So a three will always be on television, too. A to a one. And that's why E. P. S is on top off our previous patch that read it. Okay, so now that we have that finally address in terms of our notes and also our no graph more organized, we can finally start checking the track in the shot. Now, don't this shot looks amazingly still. Don't be deceived by a stationary looking shots. Always make sure you truck anyway, because your eyes they can play tricks on you. So, for example, if I'm going to see this, any movements in order to test in person, call control command and cooked on a point that. You know, it's supposed to be stationary. And if you play this back emergency very clearly from this trick by placing a little stationary point here, you can see that actually, some movement in your shot even though it looks seemingly stationary. All right, I'm gonna hit K to stop playback. Now, there are multiple ways off tracking that you can use to address the shot. You can either apply the motion off the background plates, the projector shot to the patches, or you can stabilize the entire shot in an ad. The motion back to the entire composition later, since we have multiple patches, is actually easier to do the stabilization and then destabilization after that. So first we have to get the stabilization data from the two D track motion off the background plate. And in order to do that, we have to basically create tracker No. So I'm gonna hit tab and in type in track conceded track the transform note hit Enter to bring this up. And what we're gonna do is basically pipe the input pipe into the original shot off the footage and I'm gonna hit one to view our original shot without a patches, and we're going to basically start tracking something that we know you want to use as a stabilization point. So Texas, usually very good to use a track because it has shut edges. That would create a high contrast for tracking. Now, before that, let me just quickly get into the different taps here for the trek enough for those who are new. So we're going to setting, and you can see that this allows me to adjust the track setting specifically, Usually defaults actually find we don't have to do anything we will do. Auto track transform just basically shows you what the transformed points are for when you create your tracks on Mexican. Didn't right now just to prove a point, go back to the track. Attack hits at track. You can see I just created a track point which basically starts here 0000 So I'm gonna press and hold my left most button and drag my trek One to find a point I want to use now. I really mentioned that I want to use the text, especially the edges right now. So I'm gonna drive all the way to the Epson into the edge, actually going to use this itch right here. So basically, this square area tells me what to track. And this is just the editor used to find this pattern once the tracks. Okay, so nothing. We have to track us set up, go transform to see that this is auto key To show where the track is supposed to be now, I did a mistake and started this way over 352 I don't want that. So my just be easier to delete this track. So I'm just gonna delete track for a track and drag. Make sure that your timeline is set to one. If not, there will be some king problems. You see, I really created an alter key frame left most button drag track to appoint. You wanna try and it can see the transform. This number here corresponds with the cross head and I'll come back to this later after we have a track to show you what I mean. So let's start tracking the entire thing is going to take a while. So, basically, in order to track you see this, I can right here, track to end. Just click on it once, and once it's done, we'll be back with a completed track. All right, so we're the track done. You can see in the Transform Tab that if I go to various points in a timeline at the translate accident, why changes? That means that this track is adjusting itself to match and follow the pattern now going to detract the tap to see this little area right here. This is exporting to cook on this and conceded that two options? Well, it certainly is. But two types off notes that creates con up in two D and transform. So going to transform but very quickly con up in two D basically means that you want to create a condom pin. But of course, in this case, it would not work because we needed four tracks to create a corner pin. Now the big toe on non Big Option is pretty straightforward. Basically, debate option for either the matchmove or stabilized means that the transformed note will be independent off this tracker. So there's tried is right here, click stabilized based, create. You see this transform stabilize, no being created. But if we go to transform, stabilize, create, conceded So Green Arrow right here. This is basically an expression linking this tracker to the transform. So if I make any adjustments here, it will actually, a justice here, which I think is pretty useful. So for simplicity sick, we're not gonna use the non begs one. But in case you want to know, that's what it is. If you like more information. Of course. I've also attached the tracker node reference on the foundries website to this lesson as a resource. So feel free to check that out. So we're gonna Basie applied this transform north right after the original over here. And as you basically stabilize the shot nine under the check, I'm gonna hover over the property Step control shift in common shift a clear it, and to check this works. We're going to basically do the same thing that we did early on. So I'm just going to take on a point here, present full control or command of you wanna make click on it. And if you go hit one on the original shot, click on the transport, stabilize it to you can see already that there's a shift in the movement. If we look at the Transform stabilized and play this back very quickly. You can see that there is no movement in the shot itself. But if we go to the original shot, it's one to go with beauty original. You can see even if you just jump around the timeline that there are some movements in the original played itself, but not in destabilize. Now viewing the stabilized. Now you can see it is basically stationery, and it points right there. All right, so double click on the tracker that you just finish and we're going to basically create a second note called the Transform Matchmove. That is going to be expression linked. So an expression linked export would just be the matchmove. And we're basically uses after our entire compositions. Merchant, remember, we talked about stabilizing it and destabilising it. So that's we're gonna do click, create. And now we have this transform matchmove that's linked to distract her control as to save. Make sure you always save and gonna test that this works. You can even try this out if you just pipe the input pipe. After that stabilized, don't put from the transform matchmove should be identical to the output from the original shot Because basically what you're doing is just destabilising it. So you want to even check the transform? I'm gonna just double click on my stabilize No and a matchmove and go to the transform pot . You can see that basically, the stabilize has values that complete inverse off wonder matchmove is basically inverse ing the values for these two cancelling each other out. No, I'm just gonna go through this and check this again. Click on the property. Stop control shift A hit f key. All the minimums. Button key to frame your shot. I'm going to detach this input right now. That was just a example. I was gonna move this here, and she's gonna just hit one on a much note and pipe input pipe to debt. Must know it, and it should be identical One on my transform matchmove output hit to my original shot. You can see there's no shift regardless of where you are in the timeline. Because matchmove has been re applied to that Shut. All righty. Now that that's done, let's move on to ensuring there are patches. Actually blend in well as a whole with lighting and blood 13. Lighting & Blur: Okay, so this should be fairly easy based on the shot alone. But we will have a more complex one coming up after this. But until then, let's talk about lighting and blood. No, not the band. But so far, this really simple shot. If we play it back, we can tell that there isn't much lighting or shadow changes being cast on these patches. Now, if resume in where the policies resume in, a little closer to our patches can see. The problem here is that the edges don't seem to be blending all that well. And in a sense, this is a lighting issue on the edges themselves, usually resolved by a bit off Lauren. So as a composer, it is important to be detail oriented. So it is important to apply some kind off effect here again, the avails ways to do this in new. If the shot is complex, you could basically create a rotor note. You don't have to follow along. You can create a roto note and in much there as usual with a blood, it be to create a blood note M for the much No, no era right here. This is the mosque and blocked the blood and then basically much that small area on top off your existing patch. But again, this being a very simple shot, we go to the most straightforward means that is, using nukes each node. Now, if you haven't already done so if you have the proximo turned on, turn it off. Whenever you do detail work like this as it could trick you into thinking that something's blow and it is in fact not so click on this little icon and make sure that it is gray Means is de activated and busy after my shoe. Correct. I'm going to click on this hit town and look for the edge Blood no, enter and control as to see now to make sure I'm looking in the right patch and to know where the inches I'm gonna dump Click on my row tone You can see the inches over here I'm gonna just zoom in closer to this edge and go in and carefully eyeball my edge over here I'm gonna pressing whole control laws My mouth's interviewer Click on ish and you can see if I press, hold control and move this around between the two lines that separate my patch and the area . You can see these values here changing now. The reason why bloods classify as a lighting or shadow issue is because blood actually does effect the pixel values and eventually gonna do that right now so I can show you what I mean. So, for example, that say, if I adjust my bill, I'm gonna go to the different channel. Hep C R channel would increase my blood. You can see that these numbers are changing as I increased blood as well. So you could use that to get really detailed. All eyeballed a blur until you see a seamless transition in numbers. Go down quick on this little fuel bots and with my up and down arrow keys, you can actually adjust them. According me. I don't buy decimals or even by inter jizz. See, the numbers changes here. Uh, patrol s. Now let's see how it looks like wish and reductive blood control shift A and with the edge blue note selected d to turn it off. Now, a trick you did not receive this is effective is you can actually adjust the brightness off the viewer. So you can adjust the game, which is over here. You can also adjust a gamma again is easy to adjust. I'm just gonna basically do this again sometime. You don't see the difference. Just so you know, this would affect your final render. Now with the edge plus selected Geechee can see a little bit of change. Right? That shut edge over here if I zoom in really close is gone. And it's blood better now with the shop inch gone pulling you to do a few more kind of corrections. But even after that, it actually looks much better compared to where we can't dis line over here. All right, now that that's done, I'm going to let you guys try out the other patches for yourself. Now give it a shot you can eyeball. These are used. The RGB values try both. See which one feels most natural to you. And once that's done, I mean, show your mind right here. All right? And if you're back, we'll come back. So basically, what I did was I did the same edge blood I went into, and as she eyeballed it cause I'm more used today, um so this is basically that square patch there. We didn't another check and double click on your road. Oh, no. It would bring us up to show you what it is that would take. So I said, it's about 17.5. You can see the difference. Click on this control shift. If your property said deaky could see a huge difference in my patch, man. Actually looks like I don't even need to cover correct and blends pretty well. Same thing for my E. P s logo on top off the square area. Quick on this edge. Blue note. See, that's it pretty well, All right. Now, once that's done, we can then move on to add the finishing touches off, really making those patches look like they belong in there with removing and adding, I was great. 14. Grain Match & Check: Okay. Now, a little bit more about grain. Grain helps make the images all looked like they were shot in one camera or green is not obviously visible to the naked eye when watching in the food movie sequence. Part of being a good composite er is the attention two minute detail, making sure even the smallest of greens or hairs are in the proper place. First things first. Before I didn't grain. We first have to remove it. So going back to our first patch over here hit one with much one selected. Now, this is a little bit too dark right now. I'm gonna reset my gamma and gain the view and all do that Just click on the red. Why on the red text over here to see I just reset my viewer to this original settings for the Gamma game anyway, bank to nuke and greening. Well, first, let me explain this concept here. Now we go to much too and hit two and let's say I go to the Blue Channel hit be 40 Blue Channel and I zoom in over here and she I'm gonna dock in just my settings Interviewer playing his back no bit and you only need a few friends and you can see this patch here has no grain moving. But on the outside, the green is obviously moving in the blue Channel, which means we don't have any green on this patch. So we need to make sure that as composite Ear's all the details attended to now, thankfully new provides. As with many options for this, if you basically go to an empty area here, hit term and such for grain, you can see that there are many options to a grain or two, actually. D grain clip footage patch Now, the two options for removing grain A k a. D graining basically provided by nucleus D green, simple and D green, blue. Now D green blue is focused really well under obviously the Blue Channel off your footage because the Bill Channel Green tends to be the most noisiest off demo. And to demonstrate this, I'm going to actually go to the original shot one. And now we are in the Blue Channel. I can see over here, so our g b and if we pre inspect a little bit, you can see that the Blue Channel tends to be usually the most noisiest channel. Perhaps this would. It's not really a good example. Yes, but Blue Noisiest Channel just remembered it. That's why there's a separate note for D. Green. All right, so we're gonna use the D green simple note and basically attached to after our frame hole. Now we have a bunch off outgoing and output pipes here. So to save ourselves the trouble disliked the frame hole known hit temp and type D grain, and then goes to D green. Simple. Now a quick reminder. Quick tip degrees are usually best done before you do any color correction, and the reason for this is because, obviously, if you do a big green after color correction, it will adjust your kind of correction so you don't want debt to happen. Also, because it's usually better to have a flat, clean surface to work on now, it is true that this may affect your color correction, so we will do a quick check on debt after this. But first there's going to eat, channel and adjust a green such that we cannot see any spots. So I'm gonna click and select my knee green. Simple not hit one to have an interviewer. Now we're basically going to adjust in each channel. The RGB so I can see are blur blur. So I think this blows such as you can see the definition of the grain of a him. So again, this is all up to your discretionary I for your time to use going to the G channel hits jean viewer and be and go ahead and a justice Control s deceive. And now, since we did the d grain on the main footage, we didn't actually have to go into each off the patch to do it because it can see the output is already piped into this. No. So that's one of benefits. Too often. Note base composing. Is that what you do? Want change here It affects everything else down the pipeline chain of command Now that she played his back to see how it looks in. As we all know, it's hot to kind of played his back in real time because it takes a while to record. So I'm going to click on this little proxy I can't hear. Make sure that it is turned on. I'm gonna select a bunch off frame Rangers to play back there will be consistent throughout . So I'm gonna just hit in minimal but in our f key and viewer to set this to full frame. Gonna go somewhere around here and I see that I I can't over here. Just take a listen. I don't set the input point for your timeline in anywhere else. Perhaps over here I can click on this hit on. The old key was in the timeline to set the outsports part, and we're gonna paid his back quickly. That's concede. Agreeing is quite clean in most channels. Can't stop playing safe. All right, now that has done is time to end the green to this patch. So gonna hit tab and such for green. Now we will be using the grain known. So go ahead and select Green hit. Enter now. Very briefly. I'm going to go through all these settings right here, not a sigh. Settings basically determines the size off your grain in each channel. So let me demonstrate that very quickly over here. That's just there. Plug this in over sheer. After the edge blur hit G two key the centers over. You can see. And if I increase the size so she gloated are rich channel size increases B G Now the irregularities. How randomize you want to green to appear? Do you want it to have a more uniform, consistent pattern or have it completely random and jumping all over the place should see again, Highly irregular are more regular. And lastly, de intensity is well, basically how obvious or intense You want the grain in each channel to appear with greater intensity being the sharpest and in these being as if you have no green at all all rights. And of course, if you want more information about the green note, I have attached a link to this lesson as a resource to the foundries. Official green node reference guy. So now that we have a quick understanding off these settings, let's dive right into each channel and adjusted according to the green off our footage. First, make sure again, Reminder set out in and out points while timeline so that we can play this back properly. I'm gonna actually cash this very quickly by cooking on the play button. She gonna reset this, get out of that channel Lord and playing again purpose off the frame ranges so we can actually see and test how grain looks in playback. We're not having to wait for 10 years for the entire thing to cash. Okay, so let's go. Firstly, I'm gonna make sure that my a one input pipe is going into the green so I can at least compare the one and focus on this area right now again. Feel free. They adjusted gamma on again values and a viewer in order to see your green and properly. So quick playback concede red. We are Red Channel looks less intensive in ISS. Then I'm going basically injustice right now. Well, it is playing back, and obviously it is a little bit too intense. I'm gonna decrease this a little bit. Give it some time for new players back. And if you find that your timeline is taking a while to play back this clip, here's another tip. You see this icon right here, region of interest. So basically it limits the nukes updates all the time, like just a specific area. Kind of like Maya, if you also do of my own comes to revenge ring specific areas. So I'm just gonna do that, because seems like my computer is really snow. It's making this ineffective for even to walk you guys through the shot. And now, if you please back, you just see only this area rendering and updating in well, somewhat real time gonna limit my friends even more. That's really taking too long. Okay, I'm going to go to the other channels, hit G viewer to go to the Green Star Justin dues intensity first, and then the blue chip. All right, Now, you should have some green that matches your footage. If you really just want to keep the numbers, here is a quick with closeness. Here is a quick snapshot off the values actually use. But again, it's not about the numbers per se, but about how your final result appears, all right. And usually, since green is consistent throughout the entire shot itself what? Just copy and paste the exact settings to the other patches as well. So I'm just gonna do that. I'm going to stop this copy migraine, then select my edge. Blur paste and paste control as to save, and we'll readjust our organization off the notes very quickly. Off course while it is safe to assume that your green will be the same for all the other patches is always good to check that patch individually as well, just in case, you know, to make sure that the identical settings apply. Going to do that very quickly to seize all the same, I'm gonna turn off that render area, click on this icon and then wait for nuke to load the screen. Think on these two hit d See the green being edit? Yes. And I'm gonna pray this back gonna set it. So it's smaller for in range costs, taking forever for new plane. And there you go. Looks good. Okay, Dokey. Now that we have the grain down, let's move on to actually rendering out how shocked. 15. Rendering Options for Invisible VFX: all right. Now it's time to render our final project a shot. Yea, no. For those who have been in my after effects and nuke cause, this is the same thing that I covered there. But feel free to sit in, if you like a refresher. Okay, so let's start by going through some standard render formats individual effects industry now, ultimately the render form. It would depend on the show. Audie Studio, or sometimes even shot there is involved. Sometimes even the editor after film gets to call the shots on former it off D. Well shots to be used, especially a DSS, also knows a bit off visual effects. So first, we have t open the x r e x r. This is a common image format has both HDR capabilities in other words, the ability to store white and black detail even in overexposed in under exposed areas, as well as being space sufficient in foul size. Originally created by none other than Industrial Light and Magic or I'll M. For short, it has become a standard in the industry, supported by most industry standard compositing software and three D software all over the globe. Then we have the DP X file full meant now. DP exes tend to be the next go to for indie filmmakers working with small visual effects houses. Not only does this file format have the ability to preserve linear to lock camera information more information on this in a future compulsive class, it also has great flexibility in storing color information on that note. Timer. Dp X follow sizes do tend to be a bit bigger as such Next up in line, we have the tiff file. So other than the benefits of being able to store for channels including the Alfa RGB and A two fouls are commonly used to render out three D passes from three D software and is also considered a lost less format, where you keep all the detail and metadata after image, regardless off how many times you walk the image within reasonable means. Of course. In addition, tips can also hold a color space profiles well, and just like the exercise can support up to 32 bits. But channel off data moving on. We have the all too familiar ping, kind of like the little baby boo boo brother off tiff in a sense that it is easier to use and much smaller in foul size. So, just like tips, it can start an Alfa and 32 bits. But, of course, no HDR support normally, since pings are faster to render out there. Normally use s test renders our proxy fouls even test visual effects shots sometimes, and lastly, we have J pecs. Now this file format is not normally used for final renders, but definitely used in reference. Images are proxy files, since they are so quick and efficient in both file size and render time. And this is mainly because it is a lossy file format. What it basically means is that when it has saved re saves and re saved and re saved and re saves and recieves again, he knows this some data over time, causing more odd effects when compressed and decompressed through multiple saves already. So that information aside, let's talk about rendering options for invisible visual effects now, depending on the shot. Sometimes you find that you may have to render out a few patches are clean plates first before re camping them in. In that case, these are performance usually used in such cases Firstly, we have the ping for meant, which is based before quick and simple fixes, usually for cream patches that have too much effects applied. And, for example, if the script starts to leg, a ping image still would then be rendered and reimported in with all the color corrections and adjustments applied. You can see this is the ping far format here. This is also another way to optimize your script if you have a complex, invisible visual effects shot. Next we have the tiff and Targa files. These are using use for large, clean purchase or plates. Where the footage. It's four kr above. I have a lot of intricate details you want to keep again. These formats depend on the studio whether they do pink tiff taga for clean plates or patch exports. All right, now they've got that covered. Let's actually render this out now. Gonna go all the way. Shia, make sure that we have our transform matchmove applied. You're gonna hit d w key to bring out the right note. Yes. And nuke. There is no render note. It is known as the right and the shot cut key again is W. We're basically going to rented us out as the usual H 264 MP for so I'm gonna clean my properties. Tack Uganda's icon DoubleClick gonna write someone basically gonna type a name India with D dot mp four format. Neither hit. Enter notice that the settings for the MP forward then, Papa now very quickly the funnel type equals and movie, and that's normal. The format is what you specify. Sheer. And right now, MP four is also classified within and movie. So that's correct. Again, you can read more about it in the link attached to it is lesson as a resource on the right node reference guide with details on the right note itself. Next we have decoded it. We're gonna actually changed this room. Apple Pro rez to H 264 Make sure your Kodak is H 264 And you know what? The frames per second Now you might be thinking. Okay, how do I know what the clips frame rate? Iss. Well, remember, in one of the earlier lessons where I said to set the project to FPs 29.97 if I had asked you see that? Well, she is how I knew. And she is how you find out gonna go to the original shot here, Hit tab and in view, typing new meta data This note attached distant your original clip and you can see you can use this note to view the meta data of your footage Equipment. As you can see, if you go to the input frame rate for this original shot, it shows 29.97 So let's match debt in. All right, note settings. Go back down to our right note and we're gonna hit 29.97 Enter and then pipe this input pipe in two D Transform Hits one to see how it looks and click on this icon Tonto. Now, when you hit to any viewed as you see that that's a little bit off a dotted border around us. It doesn't mesh. You're bounding box now, as a protocol is always good to crop any final note to make sure they 50 render sizes. Now I'm gonna actually for this explanation, deactivate the proxy moment. So we're not confused by the box numbers Here. Click on this and not should be HD 10. 80 p So with the transform matchmove note that is again attached to your final note, you're gonna hit town and such fall trump transformed, hit, enter. And again, this basically make sure that our boxes exactly cropped away wanted to be Now again, you can see that our form it is slightly off by a pixel and we're gonna do it was gonna make sure that our crop box is actually 9 2010 80 So just click on this three full meant you can see in magically sets out box to correct exact resolution. Now we can finally go to render double click on right Hit one infancy is matching the exact same as these two viewer inputs right here. Especially name off our property. Click on this icon and I'm basically gonna save it in the same folder as my work file script for now. So I'm just gonna call it that. See this? It affects. And this girl projector shocked once. Is it my project name? I put my artist name in, uh called his version or one and under scar final. So I know don't and people save C four minutes to MP for and now everything's Okay, Brenda. Now you can see that the render setting shows up frame range. If you click on the frame range, you can see that these four options are very similar to what you have in a timeline over here. So, for example, by going here, global input in Invisible. Same thing Now, very quickly. The input. Basically, it means your timelines. Input off whatever footage. Your viewing right now. So you're currently viewing this clip that has 488 frames. So is showing 12 for 88 global means, the project settings. We should also reflected as global in your timeline and across custom and viewer common sense. Basically numbers you can add in yourself and what d in and out points off your current viewer is showing, respectively. So we're gonna just global check that everything's okay and then hit, okay and can see nuke should now be rendering your MP four. Okay. And once you are done, always check your work. Voila. You go. Your first simple, invisible visual effects shot. It's like you didn't nothing at all, huh? Well, that's the point. So we've come to the end off the shot. Simond feel free to post any questions. Thoughts are comments on Q and A board or share your final shots fired Dropbox on that cure name board as well. Now you can finally go out there in the world, shoot some skies and say that you added in those clouds in there because technically, it's supposed to be invisible, right? Right, Get it invisible coming. No one can tell whether you really edit in those calls and not so okay, that was a That was a bad joke. Anyway, let's just move on to your final shot assignment from your director. 16. SHOT #2: Removing Moving Objects (Part 1): All right. So that shot was just a simple example of the kind off simplistic, invisible visual effects you may and get at a studio. So you might be thinking, All right, all right. Enough for the easy stuff. Give me something challenging. Well, did she has this shot? Let's say y'all, Director, all supervisor wants to add more buildings in the background and give the photographer something really cool to actually take a picture off. Oh, and to keep to the rustic feel off the place, the director wants his car removed. Okay, then they all sound easy in theory, but makes your job much more interesting as a composite. Er, but no worries. That is what I'm cheerful. First things first, let's import this Crip in and set up our project setting. So now they have descend hit the S Key wells into Properties Tab to bring up your project settings. And let's before that don't actually let's make sure that when we double click on our clip and sure that we always have the auto Alfa checks and once that's checked, now we hit. It s into probably settings. And let's set our frames per second as 29.97 Enter. Now, if you want to check what the matter Data showing for the frame rate for this clip, just simply select the clip hit tab and such for view meta data and can see that the framework is actually 50. But that's a little bit too high for what we're ultimately gonna render. So we're just gonna kind of bring it down to NTSC, which is 29.97 So that basically means that just go in, the clip will be moving a little slower, but just something toe work with Realistically. Now let's play this back and actually start with the car removal first. And what we're gonna do is essentially frame, hold a portion off the clip, sheer without the car and then overlaying it for when the car comes through, which is about frame 5 25 100 Carson, and come through all the way to about frame after it passes through these. Okay, frame about frame 6 50 All right, so I'm just gonna let this cash for a while now. While he's doing that, I'm actually gonna make a quick backdrop. Know what hit tap such for backdrop to basically remind us off the frames for the car. For those of you who don't know, the backdrop note is basically a way to group a bunch of notes or to write out notes similar to use sticky notes. No, which we also have hit tap, sticky note that you can see. But I believe the backdrop known actually is much more better looking, in my opinion. Okay, so with this backdrop note, I'm gonna basically just double click on it. And in the label, one type frames 500 to 6 50 That reminds me of where the car would be, and then it should show up. If I increase the scale for this little bit. Maybe his dirty. Just the properties 10. It's not showing up for some reason. Create new one. Something is off here. Something very strange. Let me just stop playing back. Creating your backdrop note. Okay. There you go. Something that was just weird. All right, So study it was gonna click frames five 100 to 6 50 Now, just remind me off the frames that will be working with for the car. All right, So you can see we didn't save this fall. So we're gonna do is basically save it. Control s and we're gonna have the same similar naming convention. So today's date, I'm just gonna say desisted 21. Well, I'm just gonna keep its 19 for now, just so I can actually have reference my my founding before disappears to make it simple, if you know where all you know the naming convention on your file, I can just select this and then rename a few of these portions here. So I'm just gonna call this d photographer. Shot or two. I'm gonna change my date to today's date and keep everything else same. Yes, Safe. And there you go. Far name. It saved right here. All right, so let's get crackin or the car. So in order to do that, we need to make a clean plate. Now this shot again. It may look stationary, but as we all know, looks especially visual effects can be deceiving. So let's do a transform stabilize first before we do the frame hole just to I kind of switched things out in terms of how you can execute a similar tasks. So hit temp, and then we're gonna look for the tracker. No. Enter. And you've done this before. It should be self explanatory. We're gonna do is basically create a trek to stabilize his shot. So I'm gonna use this building in the background, because I know obviously buildings, I'm not supposed to move. Double click on this quick at Trek. But I knew something like this Safe. OK, so make sure again. Here's a good example. If you're coming in a different part of the timeline, not number one, you contract backwards and forwards, so I'm going to start tracking for its first gonna still I can't hear track. And I'm not. I have this track done, just like anywhere in a timeline. Take on this little icon That brings me to the nearest closest key frame. And then I'm gonna track backwards with debt icon over here. Okay. None has done. We're going to export a transform matchmove notice. Well, eso as usual, you can see our track. It's complete. We know export options. So we just go here and do a transform stabilize first create, and they were gonna create another one transform matchmove create. This is to remind us that later, after we stabilize the entire shot. We are going to edit back before we render it up. All right, So something I forgot to mention for our backdrop note. Um, just to clarify, especially when you're organizing scripts for yourself or someone else. It's always good to put the descriptor off the frames you're referring to inside the background on the backdrop. No. So this for the car. So it's just gonna say car frames, it's ever just frames. It's kind of big. All right, so now there's done control. It's safe, and it's usual. The transform matchmove again is to act back whatever camera motion we took away from the shot during the final stages off our composition. And just so we don't forget, we're gonna also created write notes right now next to the matchmove. No, to mind our cells as a visual reminder, hit W to create the right note and then put it next to the matchmove, known as a reminder that you have his back before you render it. Okay, Not it has done. We are basically going to create a freeze frame for when there is no car. So I'm gonna firstly clear my properties tab Electronic control shift. Air command shift. A clear it. So I'm gonna party, not transform. Stabilize. Just so you know that we stabilize his shot. And now let's scrub through the frames of finding good frame to use where the disk are Over here. It's not present. All right, so I'm thinking that frame 400 nice number was pretty good. So let's do a quick rotor off this sliver right here. Ignored is dude. So what I'm gonna do, basically first, let's just frame whole distinct hit Tamp search for frame hold. Enter, and we're gonna enter our first frame as frame 400. Now, plug this into the stabilize, and then we're gonna enter our first frame input box as 400. You can see our frame is now frozen wherever we are in the timeline at frame for hundreds. Even state here. Cool. No, Just organizes a little bit. Moved us out of the way. Right? Okay, Control as to save. Now let's do Ah, roto for this hit tap. Such for Roto Enter and we're basically going to quickly sketch out to this area. So let's just do that very quickly without this dude over here, you don't be so precise as lonely to exclude the Ellen. She don't want to include, so this should be okay. I believe you also. Well, the tree Alanis. Fine. Too More disturbing. Cool. And yes, I believe when we were looking at that shot, there was a biker that went by somewhere around here. Considers guy. The director didn't say to remove it, so we'll deal with him later. But for now, that's very quickly. Create a merchant's em. Drag a little a road to the right here Mosque ste Roto in an A input as out frame hold for 100. Alright and input be as transformed stabilized. So this organized is a little bit, um, I like to move the frame, hold down So pressing whole control and going to increase my autograph years it'll be too small Press and hold control to bring up the yellow diamonds. Otherwise, don't see periods of dots and they go Let's make it a bit more organized this way. Now, if you find that your expression lines these green lines a little bit too distracting, you can always press alternate and e to turn off the expression lines. You're not deleting them you just turn them off. So I did out E what's in the know graph to turn off those green lines, but they are still connected. You can see Miller Green ease right here. Okay, so let's see how our patch looks For now. We already pipes everything in much one. It's one four frame this hit space by interviewer to bring this full screen, and it's just very quickly scrub through this. Now, if the mask is a little bit too distracting, can hit puke E whilst you are in the viewer to turn off the mosque and I can see Okay, obviously there are a few outlines here, so we have to add a little bit off edge blur into this. So his space by to go back, I'm gonna add some edge blood, as we talked about in the previous shot about blurring the edges of the patch. So with my roto one not selected hit tab such for EJ blood, enter. Now this is getting a little bit messy control shift and it kind of properties typed and double click vegetable again to bring that up by itself so less and little bit off the edge blood. No, to see how that's looking with our patch over here. Session. Go to that frame where we saw the really ugly shock. Look, if we can find it, but if not, find eventually when you play it back. Okay? Now I want to bring back your overlay hit queue to see when it is. And now, inch blur. Let's just give it like a quick 12. The only way to see if this works is if we play it back. Now. Firstly, we talked about organization. The next thing I want to do is I want to rename this much. No, because you're gonna be using a lot of marginals in this shot Comptel already based on the fact that we're gonna at buildings in the queue for something interesting to take a picture off and then bring back the biker guy removed a car. Do something about this part, um, execute composites. So I'm going to rename my merch note. Let's call it a car fix. Merge. Enter Now, you don't have to put on the Scots. If you press space bar, it will create the underscores for you, so you don't actually have to type the underscores when you're renaming. No, it's all right. So we have the car fixed. Much note here, control Esther, save. And let's play this back in the viewer. All right, So it was taking a while to cash. Do you play back? So what I did was I only playing back the frames that I know where the changes are made in terms of the car and bike a boy. So it's looking good so far. Um, all right, now let's bring back our biker boy back into the scene here. Now, let's just stop this playback control as to save. Now. First things first is we're going to basically create a dot known as mentioned. That is the period G right here. Wherever you clicking a note. Graphia created dot note. And I'm gonna basically pipe this in into the other dot with here Now, since we're bringing back the biker boy who is not stationary elements that can see right here, we're not gonna use the frame Hold for this since he is part of the original plate itself. So let's start our Roto Mosque roughly around frame when he comes into frame around here frame. Give it a few the way frame. 6 20 So that's where I'll start my Roto control SS aid. Make sure that you are at 6 20 frame now. Everything that this timeline he was little bit distracting can simply change this year. Two in an ounce, We just show in and out. So I'm gonna hit tab type roto, enter and front frame 6 20 Start to zoom in in. Just scroll your mouse in. Start to redraw. Rough mask off this biker boy. Now we're going to animate this mosque as he moves through the shot walls were doing that. Make sure that you have your auto key turned on your scene. A little icon right here. After and create the road Oh, no. This toolbar will pop up and this icon Turkey should be indented. It should be darker than the other great icons. Yet it means your order keys Don't not eso control. It's a safe And let's just see where he ends. So we know where to stop All mosque roughly. Okay, so around 7 25 right? Nothing goes past this and we can turn this mask off. Okay, so let's just move. Alma, select any of the points control Air Command A. And I'm gonna have this last just randomly follow him, positioned roughly. And you can see it already creates another key frame for you without you having to set the key from itself. So in between, I'm just gonna make sure that my mosque is moving and I'm not getting any unwanted stuff in my shot. And the case will be just fine. Looks likes. Just find him cool. Okay, just make sure that your biker Boyz not being cropped off midway. So always good to check. You can do this as well, by pressing whole shift and then left or right mouse button keys to jump a bunch off frames at once to test. Okay, I think I'm seeing that his head is getting trumped up at some point. Check the one his hits. Have you gone doing him to be a hit in this horseman? We'll hand this biker boy all right, Control as to say, from looking good now very quickly. I'm just gonna create in much No, just to see how it looks. Hit em, drag a little arrow mosque again a will be the transform stabilized dot That we just created and we'll end up blood later. Right now, I just want to see how this looks gonna play this back. And remember, we learned about the render areas to. So let's control shift in properties time. Just click a little icon and just focus only on the area surrendered to help speed up, out process. Okay, somewhere around here, Now we can pay this back. But before I forget, Yes, we did not at this guy back in. Okay, so remember our car. Fix much. Now we're gonna add this guy on top off Al QA fix patch now. We didn't use this function previously, where he had a two is a threes for the previous shot. And as we recall, the higher the number The higher the order off the in the layers stack. So a two will be much one for now. We'll rename this later hit on one in the CAA, fix much node. And now we can play this back and see if everything looks okay. Eso I noticed a problem. I totally forgot my apologies to actually move the mask out off the frame after after the biker boy went by guys not in. That's why the car sharing out. Okay. See, this is why when you're doing intuitive problem solving and actually recording on whiles doing this live as well. Thinking out loud and speaking to yourself makes it a little bit How to be accurate 100% off the time. So just a reminder. Biker boy doesn't show up until around this frame. So we don't want the mosque to bringing to stay the and bring in the car. You want it to be on a frame and then come into frame with a bag boy. So if you actually spotted that before I did whilst speaking out loud in a recording Good for you. Um all right, so I also want to make sure that my mosque disappears after recording, just in case. So maybe around 7 40 I wish you move my mosque out of frame, and that should be good. Now I'm gonna actually cut short my render times because it's taking way too long. Just the previews. I'm gonna go to 500 semi input. Point it, I and I'm going to go the frame and see like a boy while someone 25 file right. So I'm gonna play this back now and can finally see it correctly again. It's good to check your work. All right. So look at this cute little mosque following the bike. The boy OK is looking good. Now that's just hit. Care to stop the playback? I'm gonna add an edge blur as well to my mosque to make this a little bit more smoother. And Bennett better. So we talked about So hit 10 whilst you select Eurotunnel, enter edge Blur and is gonna give it a very quick number so I can check it later before I surrender and give it a quick five. It's Rafi a good amount to have a mosque, something like that. Especially when you just knew other fixes around this area s. So let's again organize our notes. Double click on the much one. I'm gonna rename this and actually change the color of this known so is more organized. Now, this is the biker boy. So I'm just gonna type in bike addition to the reminding that I added this back and whilst the Damascus of removal, I'm gonna change this kind of something really obvious yellow I control as control shift a property step to clear it because it looks messy. So this should be pretty good. I might. You're gonna change this much as well. So in the future, we use more, much notes. You'll be less confusing. I'm gonna make this actually somewhat white because the car is silvery. Believe white or silver. Yes. And now we can play it back again to check this. I'm going to stop it. 6 50 Because I know that that's where the car ends Roughly. Control. Shift A. Now I'm going to clear this render area. I want to see how the whole thing looks like before we move forward. So make sure your viewers set study. Ka fix Munch. No. And now it's space about four. Frame this and I'm gonna play this back. Yeah, also feel free to set The approximate is turned on in case he takes forever like my laptop to play this back. All right, cool. So after viewing this well, now we can see that the car is showing through the trees a little bit on, though. Isn't that obvious as a good composite? Er, you want to pay attention to detail, so we will be addressing that in the next lesson. In me, entire, you have any questions, doubts or concerns again post on the Q and A board. If you need any help at all, that's what a Q and A bodies for so post a day. If you need any help, I'll see you guys in the next lesson. 17. Removing Moving Objects (Part 2): Okay, So first things first. I want to make sure that I properly set up mind autograph to be as clean as possible. So I'm gonna move the backdrop Note with the car frames tax, actually, to wear my car frames a again. Just a quick refresher. The backdrop not basically allows you to group notes together. It can see if I just grab this and put this here, grab the backdrop Note. You can see that it actually groups that knows together visually and also literally. So I'm gonna put this. Let me just adjust it like such move this down a little bit and then I'm going to organize my backdrop. Note to income, pass and cover the car frames. Cool. Cultural s a safe. All right, So OK, so we notice in the earlier lesson that dick are reflections can sort of be seen through this tree in foreground. Could see this very faint thing. Silvery thing moving here. There you go. To car. As good composers, we have to do something about that. So let's start by doing a quick roto off that tree portion here where the car is visible. So right over here, let's just hit tap and such for Roto. I'm going to stop the playback, and I'm going to do a very rough sketch off the trees. Outline. You don't have to be so precise, just the area where you believe that a car is going through again. This is helpful, especially if we're talking about keeping us much off the original as possible. So double click a roto. Don't make sure that you are seeing roto icons here for you to use, and I'm going to start randomly drawing a rough outlined its roughly the shape off this tree right here are part off the tree. That's also an a blur. No to kind of blow this out. Now we've been using edge Blur for a while, but I just want to introduce another note to you. They also can use as a blur for your mask, just hit the be key to bring up the Blur note and can basically roughly just give it a quick number just to see how this looks. I like I'd of five or seven. So let's just try seven and then, as usual, you know what to do. Hit the M key for the much your little arrow on the right for the mosque. And then, of course, when it the eight input pipe to come in from a frame hold off this tree now essentially we're going to resolved is the easy way. You know, there are many ways to fix this problem, but we don't want to spend our time, For example, painting that out frame by frame again. It's not reliable because human error is very possible. That's why you see most of the pain to work. Don't really look that nice if you do it from my friend. So we're just gonna use the easy method off frame holding. And you see that even though the trees like me moving, especially not that that it doesn't call for really complex solution. So again, here's a more straightforward, also easy solution. Now that's gonna watch this part in to make sure that the movement isn't so great. Yeah, I notice how the tree only has a teeny tiny bit of motion is not the even at RV, especially if we're focused on this this lady right here. So we'll be cheating this invisible visual effects by simply using a frame. Hold over it. So let's see which frame we want doesn't have the car. So the car starts around here, we can actually do. We can use the same frame called a 400. Let's do that. Has used the same frame. Hold off 400. So pipe in the A input into frame hold 400% whole control or command on Mac to bring up the little dots to make it more organized control. Safe press holding dragon left mouse button to create a selection. Hit tab. We're gonna do a backdrop Note again. This time you should see we grouped all notes together and you can move them as I've demonstrated earlier. Okay, so I'm gonna rename this in the label as tree overlay. And you know what? Because trees green. I'm kind of make this green just so it's ah. Makes sense visually. Cool. All right. Control is safe. All right. Let's see how that looks. Firstly, we need to add this on top off our layer. And remember, we talked about the layer stacking order in New York. A three will be hired in a to anyone, so you plug that into the much note from your car fixed much or your total much over here. And now press one. What's on the car fix and let's see how that plays back Control shift in properties type of creators. Let's see how that tree looks. All right, So I'm seeing that a costal visible. So perhaps were complicating too much with too many eight input notes. Some what I'm gonna do, You can also try this. You just have to creating that much. No, have a over here and then be to be a total much, and you can see it actually addresses the problem again. These notes are free as and they don't take up too much space in nuke. So don't be afraid to create new much notes If you find that your kind of over complicating yourself before the input pipes for one single much No. Okay, so now that that's finally on top off this, what we gotta do is when I have this plate tongue on and off with a bit off fade about the time when the car starts to go right under the tree. So watch this. Okay, let's find out where that cars coming from. Since we have a separate emotionally can hit one here to view when cost that's coming in. Let's just say around 600 the cars that's coming in. So maybe give it a few frames off, leaving control. It's safe, and I'm going to key frame out much one here. Now this is a little bit confusing with double nationals, so there's no real quick how much to all the ones where you see the total final composition is that, And that's just rename this s total merge. It's also changing color. Make it red because so final, so nine on it. This is my total composition much now I can double click on that much for the tree, and let's actually key framed mix. Now for those who would like to find out the mix, the much knows mixed setting is basically nukes way off, saying opacity, where a zero much means a 0% visible and one mix means 100% visible for input. Nous coming in. So full frame 591 Let's just keep frame this first and set this 20 Now, The reason why I was sending this zero is because we don't want to have the plate stationary all the time. We know that the car doesn't last forever for this entire frame range. So we were basically turn it on and off with a slight fading. So it's not so obvious and jarring when they change from the original source to the plate. Okay, So, roughly, I believe if we look at our car fix and hit two foot of you over this the cafs that's coming by around here, So you want to activate it before it comes in. So maybe around frame 5 99 we want to turn on this place slowly, sort of. The tree doesn't appeared suddenly pop into the shot. So I'm gonna right click into my mixed with the light blue box set key controls to safe. Let's set this to one. So what's gonna happen is if I view my total much hit one for this you can see Rafferty and slowly the plate appearing in the shot. If you can see it is great, that means you are invisible. Visual effects is working, but yes, if you play this back very quickly, you can see that the plate is slowly fading in again. I can't see in the mind, which is a good day. So all right. So after some leeway, I believe it would go back to hit number two. If you are piped into the Catholics much the car wishes by under the tree, let's just give it some leeway. While actually, this is perfect. So 649 or 6 50 whichever we're gonna set a key frame and are much one. So go over here. Right? Click set key. Always editors manually, because such key friends are important to the visual effects itself. And I'm actually gonna zoom out of here. Basically, you should scroll to scroll this out. All right, So you have this Senate one, and we're gonna basic have it fade out again. Now I'm going to use my right arrow key walls in the timeline to move frame by frame to where I think I wanted to stop. So maybe I'll have it start around 6 60 So I'm gonna set key frame, and this is going to be zero when the tree patch fades out. All right, so let's play it back with to fade out. So I'm gonna set my output 0.26 60 and my input. Actually, I don't even need that much frames. Probably around 5 77 I said input said of you to total much on its plate is back to see how our tree patch is working. Okay, I can see a little bit off edging right here. There's problem because of my mask. So since this is specific in my case, I'm going to fix it. But if you see any slight edging on the edges of your tree is probably because off your mask So I'm gonna find out which one is It looks like it is This one. So I'm gonna do is I'm going toe click on my busier If this applies to you Just so you know is very specifically your case. Firstly, control shift A cause is getting too crowded in the properties Tech could come. I'm busier one. I'm gonna find the key frame that I drew the mosque on because if you draw it on the different key frame, it will auto key, especially if this icon is turned on. So I'm gonna actually increase my mosque area. The shoot fixed that little edge. Now I'm gonna hit 12 of you to talk. Too much control shift a. Played his back, see how that knows? All right. A tree looks all right. The blurring on the roto looks OK and the biker boy comes into frame so again that Bica should pass under the tree with no problems. And I can check that by going to a native frame. I have 706 80 inch fine. Set this in and out, including, as you can see that biker pass under the tree with no problems. Cool. All right, so remember that there are multiple ways to accomplish one goal and what I had just gone through a simply one way off solving the problem in the shot. Now let's move on to D next, directors note off, extending our background set in the distance over here again. As usual, leave your lost or confused feel free to post on a Q and A, but if you need any help or assistance, I'll see you guys next lesson 18. Subtle Set Extension (Part 1): Okay, now the more fun stuff in invisible visual effects. Hopefully, we're going to extend the set in the distance over here. So let's just first import our clip there is attached to this lesson. Now we have the re to selected Lester's hit one to have this interviewer DoubleClick again . Always double check and turn on your auto Alfa option box. Now let's just play this back in the proxy mode because it's quite a heavy file and it takes a while. So I'm gonna actually changed just to input so you can see it plays back. The frames related to my clip. Spain is back. It's Elke in the timeline of you this all right. Now it's too many frames to play this back, so I only paid a certain amount of frames, but in general, you can actually jump throughout the timeline to see how it looks. Basically, is a drone shot off a bunch of moving building, so obviously we're not gonna have them moving when you use it to duty set extensions. So what we're doing is, as we've done for most of this cause thus far is to freeze frame at a bunch off buildings with the correct perspective to use for our subtle set extension. Again, I got these from picks. Obey Link is also attached to the resource time in case you're curious, but random plug for picks Obey aside, Let's start selecting a bunch of nice buildings to use in our shot again. If you want to view this, I recommend just double clicking on the footage in the media player outside of nuke, it's much faster to view it. So in general, when I look at my footage around here, I can see the drone shot. I would say that this building looks nice, so we might wanna remember. Okay, just around here and in a few other buildings in between. So I'm gonna go to that point where I think the best shot is around nine seconds around. What is this iconic glass panel building its final In its ideal 40 correct perspective of our background again, we have this one can piping out of input viewer to OK, and then we're gonna do a quick frame hole. So hit tap central frame and to frame hold basically changed the first dream 2393 As we've agreed just now we're gonna use this building and perhaps some of the surroundings as well . I'm going to do a quick roto note essential to go in and grab in all the details here. But if you're too lazy to Roto, I've already rented out the two sets of buildings we will be using that has the roto and the edge blur on them for you use. But if you wanna really follow along and kind of experience that hard eggs and the hardships off being a brutal scooper, then go ahead and follow along with tap Such roto and I'm basically when an outline buildings, it's gonna take a while. Just so you know, I'm gonna turn off my proxy mode so I can actually look at all the details clearly, since I'm already frame holding this frame and viewing it in viewer, I'm going to start basically during the Roto right here. Now I under create a curved point in case I did not describe this. Okay, just pressed. Hold and drag. 11 miles. Bennett Apoula. Smooth, busier, cuffed. Inch again. You don't have to be so detailed with this. And of course, if you don't want to Roto. That's fine. I also attached this rented out as a single patch. And if you want to create, shut it. Just just click. We don't dragging. I can see that point to point area ship. All right, so on down one road toll. Finally. Now, before we start the next one, I just wanted to remind you guys make sure that when you're doing this unlike me, I forgot to turn off the auto key icon right here. And you can see I actually created two key frames. So I'm gonna delete that key frame. If this isn't implies, you think can just ignore this. But in order to delete that key frame, make sure wrote a note, selected DoubleClick, go to the busier. It just to go to the key from that you don't want and hit delete. And now I'm gonna turn off auto key. This icon here and I could see that your mask should turn white if it is not Keeble. Now, for those of you who, uh, creating those sharp edges and wondering how to convert these edges too busy a while, that's quite simple. After you turn off our turkey, make sure that your key frame is on that one key, the Humane. And then you can basic change this by going to the second I can't hear, select, present hold and just changed to smooth points. And Cassie Now you've converted your sharp edges to smooth points. I'm gonna undo that control Z to undo. That was just to show you how to convert that, if you need it now, for those of you who don't forget it out yet. I created this. Fed it area right under my mask in order to help it blend better a sites from the blood it will be using. And in order to do that, this thing, you select any point. Let's just say this point right here. You see this little line? If you pull this out, it creates a feathering edge over here. So that's what I did after I wrap this up selected appoints, it can control and adjust e feathering again. I'm just going to leave this here for you guys to see how I fed it. If you want to follow along. All right. So once we have this Roto where the rotor not selected hit tap Such for ej blur enter and again wouldn't just give it a quick seven. We'll see how this looks once we composited in. So enter servants. Save noted that we may need to adjust ease again once we composited in. But for now, let's do a quick of rough one here. Firstly, let's see how it looks. Hit em and has put out this little arrow thing is over here. I want to see 100 looks. You go. We're gonna turn off my overly cute attend itself. You can see that's how my buildings look and check out Alfa hit a whiles interviewer. Okay, looking good. See? So I can see if I turn off the edge villa and makes it super shop tennis on and sort of fixes a few of those masking errors as well. All right, that was good. So let's move on. Control shift a property, Sam to find another building set that we can use now I play this back Previously 8 to 10 of the Alfa and I think 6 80 around 6 80 range about 6 83 looks decent and like something we could use. So we have that selected. Let's just bring out this drag this original clip out here. It turned frame hold. Put the input here and then set this 26 83 enter. So basically, we just do the same thing to create rodeo and repeat the process. So I'm gonna actually organize my No, it's here. Bring this out. And in order to select multiple again left most radically drag to create selection and we repeat the process all over again again. I've also rented to sell if you're too lazy. But if you'd like to learn the hardships of being a composite a slash roads Copa, feel free to do the rotoscoping yourself. You can even import what I've rendered to try and match and see if you can get the exact buildings that use if you're very detailed that way. So all right, so here it is again. Make sure as usual always check your auto keys Turned off, it should be a light gray instead of a dark grey. Which means that this turned on if you have any areas as usual. Used these buttons to go there and then this icon right here to delete the key frame. So as usual, I created the same busy a for the bottom part of the building, Section C again, I just click on it and pulled out the lines to create those. So that's another edge Blood note again and blur it out. And then you enough for China. In fact, I'm just gonna use the default. They're used for same buildings copied this each blood, select the roto five and paste. Now let's view it in. The Alfa hits the M key input to the 6 83 frame. Hold over here and in the little mask to hear its want of you in viewer control. Shift in properties. A clear this in your view, control as to save. Okay, so that's viewed them composited reading the composition itself. So firstly, I want to create a back drum known for these press hold drag left mouse button to create a selection hit tab back. Drop this announcement to select all the notes I just created double click and gonna name this buildings set extension. And I'm gonna change the color to maybe like a like a light blue, similar to the color off the glass panel with control as a safe. Okay, now it's more idea if I moved its over here near to where the final merge will be and she could see the MATCHMOVE right here dragged these away and actually gonna must at to where the car I want to read. A total much is now. This looks a little bit disorganized right now in my views. I'm gonna pull this down here to win my building. Said extension is gonna create a few dots, present whole control and then and lodged just so you guys can see you guys will thank me for that. Yes. Finally, she did it. Okay, we have our total Murcia, which again, if I viewed is hit one is just what we did on their own with the CAA fix, right? Actually, I'm gonna change this to Global, and I'm also gonna turn off my input upwards. Now, we talked about the anyone's and a two. So we have a bunch off A's over here. Sounds kind of funny when I see it like that. So I'm gonna have the A to be the glass building and then the a three wish again. It's hard to find a really Just make sure you're zooming many really hard to be the much three, which is going to be the brown building. So basically, in that sense, the brown buildings will be in front off the glass buildings in terms of the layer off. Okay, so I just place this on top of my compass. Now let's actually move these into position using the transform notes so we can actually see the rest of foul come. So hit the tiki for Let's just start with the glass buildings at the Tiki after your much No and we're gonna adjust the anchor points. So let's actually turn off my other Munch classes. Getting too messy turned this off. Double click on the transform and let's centralize this. So if you want to view this properly without the other composition elements, just make sure transform notice selected hit two. And then to see this, I'm gonna just president or control. And it moved is a little bit more centralized. Hit one to go back to my viewer off the total merged and I created I'm gonna scale this down now. You want to scale up by increments, you can just click on the few bucks used up and down arrow keys again if you move left and right, can control even to the tiniest minutia of detail. But for now, it should be fine. Gonna make it rough number here and gonna move this just you can simply just drag it, especially transformed Notice Active somewhere here for now. Adjust. It made a skilled is down a bit. Now, in order to use some elements as a reference for skill, I recommend comparing your building to the other buildings in the back now. So I think something like this matches the height. You can even put it next to it temporarily, just to see the heights. Scale, requirements. Let's do the same for the brown building. Now I can reactivate. Just know if it d key should bring this up. Hit the tiki to create transform right after the merch hits three. To view this in a penalty control shift is so you don't accidentally adjusted under transform double quicker than transform present whole control centralizes. And then we do hit one to view back to your original much note. And then again, standing. That's a justice skill. Now, what I'm probably gonna do is I'm gonna have that brown building so overlay this right here . So it looks like it blends in. Well, you might have do a little bit of rotation for this guy, so make sure you are subjecting again. Make sure second correct transform. Do a little bit of rotation. Do some foot adjustments again. These numbers are not set in stone. It really depends on how you adjust that. Your anchor point. Use your discretion, Ally as an artist. See that brown building just nicely fits in this one. Okay, Looks okay to me. Now again. Make sure you check your skill. We don't want our extended buildings to appear to white or large in comparison to the actual buildings in the shot. So again, you can do that. Perhaps by putting it on top off the actual buildings in the background to measures which there many ways to accomplish this task. Yeah, I feel for you do this on your own, but I'm just going to set this up very quickly over here. ISS what I've done and then you go, Okay. All right. I think that should be enough for one lesson it. OK, now that we have all that set up in the next lesson, we will continue with our subtle said extension and end finishing touches. Now we made great headway into the shot sofa. However, if you are lost, please please post your questions in your screenshots. Don't forget the screenshots on a cure in a board and I will help you get unless just announced, not carry on to part two off, Suttles said. Extension listen. 19. Subtle Set Extension (Part 2): Okey dokey, people. I hope you'll ask there with me and wide awake at whatever time it is over where you're at now. Now that's actually color. Correct our buildings and our finishing touches to make sure that our buildings blend nicely into the background. We'll start first with our frame. 393 glass buildings Set Now let's at a shoe correct India, unless actually add it before our transform again. I always like to make sure that everything is color corrected before your skill move anything. So I'm going to select my much to note for the frame so much whatever number they have for your frame. 393 it tap and such for Hugh Correct. So we'll add a few correct note in there. Now it looks like we have to adjust the saturation dominance or brightness off the building set in order to match the buildings in the background. So let's find something to compare. It is now. If these buildings confuse you again, can turn yourself by hitting the de key on the other building sets. We can focus on the one building your color, correcting eso. Let's use the gray on the glass building as a reference to match. And now the similar color perhaps discolor right here. Actually, we can even match this to discolor since their riders similar. So let's go in there again. We talked about the saturation. Obviously you can see is that little bit too bright and happy. So in order to adjust e saturation off these two and competitiveness, just present all control, click on any point in your building set in again, had personal control and basically dragger points to see where it falls on this line. We're gonna try to match discolor to here. Okay, I'm gonna basically use this press holding dragon left mouse button, and they're gonna pull this up or down, so if we bring it down, we decrease saturation. Bring it out. Increase as we have learned. What's that with, as per usual different RGB channels. So we're comparing just two days, so our it's obviously too bright. G B b looks almost the same. Let's do a very quick pass for so ruminants Pretzel drag does. It should be increased a little bit like this right now. It's going toe individual channels Aggie Channel, which is the green. A little bit DACA Do be, uh, so it looks like she's Luminant statues. I should just bring this down, okay? Stunning. Look almost like the colors Again is not a science. At this point, you can simply just go in and view the colors and match it. Okay? I'm trying to mention this one. Odd. It's OK, G b looks too dark. G looks too right. All right. Now, obviously, the blacks are a little too dark. As you can see, this looks pretty faint even if your present whole control and click on it can see that the values here vastly different from here. See, looking at 0000 But this is just like 0.3 Okay, so we'll have to use a different node to adjust the shadows and darkness in debt. Now, if you remember from our color correction less and we didn't discuss a note known as color Correct. So we basically do that. So, like the Hugh correct. I would do this after the few correct hit tap. Such for color, correct. Enter were busy going to go into the shadows setting right here in adjusted gamma and gain . Now, if you're wondering what this controls. A gamma controls the average on the mid tone range off all the shadows. Where's the gain? Controls the brightest, ranges off all the shadows and I was a gamma, controls your mid tone, range off the shadows and controls the brightest range off the shadows. In other words, the brightest pixels off all that pixels that make up your shadow area. Okay, with that little nugget of information assigned, let's go ahead and adjusted Gamma with the RGB channels in the viewer using the dock area off that building as a reference so are okay, obviously is very dark here, and we're gonna adjusted gamma because I think we don't have really much brighter Harris to work with. So the gamma controls the mid tone, which is like the 50% range off your darkest shadows as stated here. So that's separate that into different channels Now. In order to do that, though, icon that says for you can see that changes your knob attributes to adjust specific channels, so it's just adjusted gamma gain G. Again, the most important thing is a total outcome, and of course, it had adjust. This is seeing Alfa which were not adjusting. Okay, are okay, well looking a little bit too green there. So I'm gonna take this down past it is. Yeah, they go. Okay, let's see how it looks. Almost a close match. All right, now that we have that done for no less at a blood donor to making match our background buildings, blood, so right after Al Qaeda correct? No. Hit the Beaky to create a burn on right after this, and you can see it puts it right in its you already learned multiple times and then basically adjust the blurriness to imagine by Dan The color should actually closely matters . Because, as we mentioned, Blur actually controls lighting and shadows in somewhere, especially when it comes to blowing a pixel. So I'm gonna hit 61. Enter just a quick number. Another magic number. Looks like it's a little bit Well, no, actually, it's okay. Just grace. Magic number, then eso double check your RGB channels to interviewer again to make sure that everything is good and you can see that blood really does do a number when it comes to making sure that your blacks actually match the blacks here and I think right now, this is a good opportunity to go back and just my crew G. Okay. Now, if that done, I'm going to let you guys try it with the other buildings set as well Again, you most likely only need the same three notes over here to accomplish this task. So go ahead and pause the video and color Correct the other set off buildings now, Okay. And we're back now, in case you like to have the exact numbers, here's what I did. 40 other buildings. Okay, So first edits you. Correct the same adjustments. Saturation, dominance. And then r g and B to C again. Not an exact sign. You don't have to try to replicate this. And the next I added a color. Correct, as usual. So adjusting the gamma in the RG bees over here and there because at the same blood note from the other buildings I basis just copied and chased. All right, now, if you notice that my buildings looking a bit different because Abby shifted my colors from this yellow to try much distanced it. So instead of trying to match that one, I met this one again. It's entirely up to your preference. I just said, You know what? I think I like the silver look better. So after I did the second set of buildings, I figured that having that matched a silver look as she looks much nicer to meet Right you . So we're done with our subtle set extension That's plain is back control as to save to see how this looks. For now, I'm gonna turn on the proxy mode cause gonna take forever pray. And she lets view this in the final total much. Make sure you're giving the final total much and play this button right here also. Now hang on. We're not quite done yet. If you remember, one of our directors notes the director wanted to put something into scene for the photographer to take a picture off. So do just debt. In the meantime, if you are currently are still lost at any point off the lessons, that's what the Q and A board is full post your questions on a cure name board, and we'll get back to you with suggestions and solutions. 20. Adding Video Elements: already time to. It's something eye catching into this shot for the girl to take a picture off. Once again, we have no other notes from the director other than something eye catching. So after looking at pics, Obey Fall while I found this, that not only is something I cashing, but also matches the perspective off the shot itself. So that's important this in into on Nukes script and, as usual, double click. And always check the auto Alfa box just in case. Now let's see how that looks. Interviewer hit one to set this interview, and I'm actually gonna also organize my note graph a little bit more. Make sure the backdrop. No, it's actually covering entire nothing sent personal control. Dutch secretive. Start here just down and bring these two below. Now let's see how this looks. And alternatively, if it's taking too long, can view it in your media player. So analyzing the shot, we will basically be keen this out and ending it close to ready buildings. So we're gonna keep this and edit to where our buildings one. Somewhere around here, where she's facing and about to take a picture so that select, I'll read no hit tab and look for Kier. Enter now in our other new cause. Shameless plug Here I will cover each key and know in detail. But for now, doesn't do minutes key with his default settings Actually work. So we're not going to touch it. Just leave it as is but yes, in my a new cost or touched on what each of these are So right now D settings actually work . Let's move this comment or maybe a media into place. So let's just see how this looks. First hit the two key since we really use 1 40 total much and a it can see white means visible black. It's not The Kia is working, so let's hit the M key for the much known and rearrange. Reorganize our layers all notes here. So a media will most likely go behind the buildings. If we hit one, C is gonna go behind the buildings. Let's have be piped in its the comment for now. And as you were going to rearrange these pipes right here, I actually we can delete this dog just selected hit delete. And we're gonna have these coming over here. So 82 83 83 should be above 82. That means anyone will be distracts forming, and a two will be this. Now The reason why I'm setting this up is because you want to isolate the effects that are currently being used and in place, didn't properly organize and arrange it. As we can see, the media is right now behind the buildings, which is exactly what you wanted to be. Now. Then this entirely new marginal will be the A input off our total nuts right here so we can actually detach D's and we'll have the A twos be dis much. No. Now let's hit one to see how that looks. Okay. This is exactly how we wanted to look again. That's reorganized. I don't graph here a little bit. Perhaps bring this somewhere here all to e to turn off my expression lines because it's getting distracting. And then we can create a separate backdrop node with the media itself. Personal control All right, control as to save. And that's actually renamed as much as our scent extension background. And I'm going to change the color to, perhaps like an orange. It's very similar to the color of the media. Right. Here you go. Okay. Now let's move this comment into place with a transform. No. So hit the Tiki after selecting Nokia note, and you create a transform right after that. And then we're gonna just view this by itself. So hit one at the set Extension BG much all while as she I'm just going to view this one instead. So hit two on the Transform known, impressing whole control Commander Mak to center the center point to where the comment might likely be. Have some on this area and then we're gonna move the comment to position at scale it down to something that makes sense for the distance. Now, we can use the whip off the glass panel on the building as a reference in this case. So let's just do that very quickly as she I'm gonna view the total matched. It's much better to view debt. We should double click my transform three to correct one. This is two largest can see and skilled is down. Something that perhaps a similar to the glass panel. Still too large for the distance. 0.6 looks ok. Control, shift a to see things. Now it looks pretty small, But remember, skills important. We don't want it to be two largest. Well, now he's playing us back to see when the girl steps into frame all you. Actually, you know what? Don't play this back. Nothing forever. So essentially, just scrub and jump throughout the timeline to see where she steps in to basically find the right timing for when to comment would come into frame. So is about to 10. She starts standing there to take a picture, so we'll go back to, let's see, maybe around 106 to have the comment come into frame and then transforming. Move this out and down across the screen as if it's falling from the skies. So double click your transform note for the comment and then click on these squiggly icon next to the translate knobs and then set key. Now, obviously, we need to change our anchor point a bit more so personal control. All right, let's delete key. Obviously, we need to change our anchor point and the state, so I'm gonna personal control and do this Great. Now set t again and I'm going to basically move this out of frame so that when it comes in , you makes sense. After just let's see how far hit we should go, probably after she snaps it, and then we'll have it end and 5 51 So let's move this. Calm it down to the screen, right and other frame behind the buildings at 5 51 so simply just click and drag out and behind the buildings out of frame control as to save. Now, if you see two key things right here, it should be auto key. When you do this, it's quickly played his back hit, I said The input. Oh, said Output. I want to just see how that movement is okay now that we have our movements, said, Let's composite this in or some blood and color correction. So let's do the blood after our king and hit the Beaky for blood right after the Kia note itself, and temporarily, if resume in, let's send our blood to 1 20 should match around the blurriness off the buildings here. You have to calm itself, look more like a real comment for one, and they will end another blood note and this time used this blood note actually matched the blood distance. So again, this blood is just to make the comment look more like a comment instead of a C g i thing. And then the second blow gonna add is to match the blood distance off the buildings. Let's just say 1 50 c next super blood. I think this matches to blow very well. And just so we're not confused, we're gonna rename these blood notes. I'm just going to call the 1st 1 comment. Well, let me put all caps comment. Realistic blood, and then the 2nd 1 as blood mesh matching distance. Okay, save control s played his back When you're doing such adjustments. In my case, I'm just gonna jump in a timeline because sticks you want to play this back? Okay. Looks I named these wrong me. Sorry, the comment. Blood should actually be the 1 20 And in the blood matting distance is the one that's 1 50 So, again, common realistic blood, but I'm matching distance. Should be the further no. All right. That's what happens when you don't check what you have open in the property step. Now we can add the color. Correct So we're headed right after the realistic blood because I consider that as part of the comet hit tap such for color, Correct, Enter. It's basically a just e saturation and some off the gamma gamma gamma reminder. It's the mid tone so we can adjust our mid tones in the Master Channel, which controls all the shadows, mid tones and highlights. So situations a little bit too saturated. If we decreases, it makes it, you know, more gray in simple terms. And then, of course, increase saturation. Example orange. So I think around like this saturation matches this reference right here, every use it as a reference for the yellow brightness. This matches this building over here and now that's also switch just a channel fall and adjusting Gamma. And we're gonna go into each channel RG bees with. This s a reference to check my camera and she looks almost okay. We're in Ah, channel now Looks fine. G Looks okay. Would like this and be again. We're using the brightness off the shine on the brown buildings to the left as a reference . And I believe we also need some Ganges in general to increase the brightness can see is slowly increasing in all areas. Now let's check this in the timeline to see how this looks. For now, if you can play it back, I'm just going to jump around because it takes forever. The pages back okay, still looks a little bit out of place. That's actually made a comment more transparent, which actually helps blend it better into the skies. And we can do this with the merch node. So let's actually do this before the transform hits em to create much in between the blood matching dissed and transform. And this will be our controller to adjust the opacity. Remember, mixing means opacity where the lower the number, the more transparent and translucent it iss. So let's see how it looks in each RGB channels gonna decrease this fall moment. Perhaps you're going a force that can already see that is kind of fading away a little bit . Can see that as she looks better with a little bit of transparency in debt. Let's check this out looking good. All right, now, final steps Remember that transform matchmove know that we made centuries ago felt like Janz. Well, time to plug that in Let's grab our input pipe from the transform Matchmove over here this known and plant into the final merge. No, we have off our entire come. So firstly, I wanna make sure that my entire come looks OK Minimums button to frame this fit to the viewer. And let's plug this into the final Munch note Over here the total merge No, we have off our entire camp basically again undoes our stabilization We did earlier when we were creating a place and freeze framing etcetera again. To prove this I need do is double click the matchmove Go back to our stabilize double click that they can see that Well, well, you know I'll translate. Values are all reversed in the matchmove versus de stabilized notes. Now you might be thinking that OK, we can render now. Well, having on again Do you see these doctor lies in the viewer here. Remember we talked about this in the other shot we did. So that means it appears that the resolution appears to have been large with our multiple merch notes over time. So we have to fix this in order to optimize our comp and hence Orender So as you know, Let's first clear Are probably start control Shift a probably step with our transform matchmove over here. Select it. Hit tab in such for crop. Enter now. You can see that if I going one on my transform matchmove interviewer doctor outlined. Still here. Now you can see that The crop know already defaults are 10 80 p crop box here. And you like to know what each of these not mean. Feel free to check out the link attached as a resource in this lesson on the crop note of reference guide on the foundries website. In the meantime, just like the previous shot we did these values work for now. So one less step, though, is to basically check the reform meant box never hit two and a krump reform meant can see if I hit one before the crime into after the crop. You can see that the doctor lines are gone after I cropped it. Now if I turned this icon off the rial resolution appears again. This reform meant box basically tell us new. Okay? I want to reformat the entire composition from what we have here to 9 20 by 10. 80 p and voila. 9 80 by 10. 80. Exactly. Alrighty. Now then we can finally rendered is out. But a quick playback to check 1st 1st de on a turn off my input upwards. Control s. And if you can play this back in full resolution of not proxy mode play. All right, this looks good. And see the comment is coming in there, So let's see the w key for the right note. I already did that. So just last time we want this to be an MP for So I'm gonna pause playback, plant this input into the crop DoubleClick. And let's set the file name and file paths on when Cooking folder. And I'm going to call this. Let's see, we had a previous export. So I clicked on that name to make it easier for myself in these effects. Underscore for tar great for shot or to Villa final version one safe and can see that new is loading it up as an MP four. That's changed our Kodak here to H 264 and our frames per second to 29.97 which is the same as our project settings now hit render and make sure the AL frame range is set to global turn off use proxy. If you had it turned on and again Global, which, as explained, means we use the project settings frame Rangers we set and then we're gonna hit. Okay, and that's really about it. Wait for the runner to be done and let's see how that looks, all right, and it looks like this shot is in the bag looking good. We can send it off to out. Director Supervisor, Whoever for approval, but yeah, we are done. Thank you all again for sticking through this process. I know it can be long and painful, but men, if you compare before and after really a good, invisible job well done. Now, even after going through all that, if you still have any questions at any step at all, post your questions on a Q and A board. Now, in our next and final lesson for this section, it is time for you to handle a shot entirely on your own 21. SHOT TRYOUT: Replace this!: Now we're going to get serious here. Your director has just gotten back to you on a shot. It needs some fixing. Basically, he wants you to remove the text on the camera men's vest and replace the image on the wall to the right of the shot with something else. You didn't say what? Just something else. Now, if all the concepts learned here is a chance to try out an entire shot for yourself, So try to composite the invisible visual effects into shot and see if congest my results right here. And yes, there will be a bit of rotoscoping involved, but be smart about it. In other words, it's not supposed to take up a lot of your time and really is not that difficult of rotoscoping that you need to take my other Rafto cause you'll receive no guidance for me. So you have to find your own way to complete the shot. Okay, Okay. Maybe I'll give you a few hints to start. I'm not dead. Mean hints number one. Everything that you need to know to solve this shot is already covered in this cost, including order knows, used to handle this task hints. Number two is that with the simplest task first, don't know where to start. I recommend doing the roto arm asking first what you think or plan your next steps. Just remember, though they're always multiple ways to accomplish one. Go. So feel free to sit on the shot for a while and think about how you're going to solve it off course. If you have any questions or need any help, do post on a cure in a board, and I will be there to answer all your questions. Oh, and attached is a guide sheet and instructions for this lesson this well, including more hints if you need them. One final note that I have to bring up. Make sure that your project settings are set to the frame range of 1 to 2 80 on Lee so your global settings should be frame 12 to 80 and we're not going to do all the frames because it gets too complicated for the purposes off this cause. However, you are free to do it if you wish. But for the simple assignment that this is, just frame 1 to 2 any make sure frame per second is 29.97 Again, All of this will be mentioned in the guy sheet attached to this message. So have fun and enjoy the shot. I'm sure you'll do a good one, Fought a director. 22. Invisible VFX Best Practices: all right, so hopefully had fun with your invisible work. Now let's wrap things up with what you've learned in this entire cause on being invisible. Okay, she goes. When in doubt, use references from the shot itself to gauge the realism off your invisible visual effects work. After all the points off invisible visual effects, it's 40 effect to remain invisible. So what better way to judge your work, then, using these surroundings in your shocked if replacing or adjusting any piece of the shot with a pattern best to replace the entire peaceful pattern consistency. What this means is that if your patch contains a very specific detailed, it is continuous with the rest of the shot. Like a design on a wall or window frame, for example, is much easier to replace the entire area wall or window frame. They're one small portion off it. This makes your patch blend into the shot far easier, especially if the shot has any movement. Always prefer to use parts of the shot at screenplays and passions rather than create one from scratch again. This makes it easier for consistency in terms often look lighting and shadows off your patch. off which replicating lighting and shadows in two D compositing is always tougher and best avoided. Grain is everything. When it comes to making your invisible visual effects, look pot off the composite. Enough said. When it comes to invisible visual effects, don't overdo it. Keep it simple and clean. Remember, just because a task may be complex doesn't mean that it requires a complex solution. Always, always organize your note groups and no trees consistently so that others, including yourself, can understand them and know what exactly you are doing in your nukes script. Use color coding when necessary. As of yet, there's no standard as to how to organize your nose in the industry. So, of course, how you want to organize them. It's entirely up to you. Sometimes the simple solution is the best solution when it comes to invisible visual effects. In general, it is all about keeping an open mind when it comes to solving complex cases. 23. The Thing about Invisible VFX: Here's the thing about invisible visual effects. The purpose, again is not to let audiences know that the effects were there to begin with. If an audience can spot to your work and frankly, you have failed, it's a composite ER because, unlike three D dinosaurs, transformers in etcetera, you want people to not know what you did in that shot anyway. Shooting full invisible visual effects It's no different than shooting for visible visual effects. Both still require planning and preparation. But sometimes even very well planned shoots may have mistakes every now and then, such as thes Starbucks seen appearing in one of the game of Thrones episodes, for example, or a crew member being visible in the shot somewhere. So while they may not always be cool, fancy visual effects shots all the time, there will always be mistakes that lead to a good amount off invisible visual effects being necessary. Ultimately, invisible visual effects capacity is all about using and working with what you have within the shot or with the shot footage provided to complete the scene. You rarely turned to other software unless the shot involved some very intense sent extension as far as progress for invisible visual effects. We can definitely see more and more Hollywood blockbusters leaning towards invisible visual effects and focusing more on storytelling rather than fancy shmancy effects. Now on to automated tools. Yes, there are more options available for invisible visual effects. Compositing in terms off smart trekker cleanup removal, automated wire removal and a combination off other effects and plug ins. But as usual, nothing that exists that is smart enough yet to intelligently address all kinds of cleanup work or invisible visual effects shots. Not it was. They still require manual adjustments, ultimately, just like any kind off visual effects. It is all about deception off the I and not getting your lies on magic caught by the audience. And that should be about it. Did I miss out anything? Perhaps you have some suggestions on new discoveries to add all share about invisible visual effects. Composing my own means share those eager thoughts or questions by posting on curing a board . But it does nothing else. Just remember when it comes to invisible visual effects, be a ninja and stay unnoticed 24. Stay Tuned for More!: so curious for more techniques. Well, this is just one in a series off visual effects post techniques straight from the industry . Just so you know, all of this info and tricks are from what I have learned working inside the Hollywood Film Ministry itself. So you find such information valuable that stay tuned for more off my future causes in my visual effects. TV's where I will be unleashing more off my tips, tricks and sheets get it from behind closed doors in Hollywood film and visual effects studios. And yes, there will, of course, be discounts posted in those costs ones they out. So just stay tuned and keep your eyes peeled for future updates off, which I'm pretty sure by now. After staring at the computer screen for hours, your eyes are probably very, very trained and dried like prunes. So go rest your eyes for now and stay tuned.