Your first day in NUKE: Add the power and professionalism of node based compositing to your workflow | Film VFX | Skillshare

Your first day in NUKE: Add the power and professionalism of node based compositing to your workflow

Film VFX

Your first day in NUKE: Add the power and professionalism of node based compositing to your workflow

Film VFX

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11 Lessons (2h 49m)
    • 1. Introduction

      0:43
    • 2. 1. Nuke Interface

      19:47
    • 3. 2. Up and running fast with COMPOSITING

      21:05
    • 4. 3. Nuke input and image sequences

      7:03
    • 5. 4. Color Correction: Grade Node

      17:55
    • 6. 5. Color Correction: ColorCorrect Node

      8:07
    • 7. 6. Color Correction: HueCorrect Node

      6:27
    • 8. 7. Color Correction: HueShift Node

      5:38
    • 9. 8. Rotoscoping: Roto Node

      13:26
    • 10. 9. Make people disappear or duplicate them with RotoPaint Node

      17:26
    • 11. 10. [Bonus] Key a blue or green screen

      51:33
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About This Class

Do you want to start your first day in NUKE with a Fast Track to get you up and running? And learn how to make your first compositing in 20 minutes? 

Join this class. You will learn the industry standard compositing software faster.

You will learn:

- How to make your first NUKE compositing, in 20 minutes
- How to move in the interface with ease
- What inputs are recommended in the VFX industry,
- How to use The Grade node, one of the most used nodes in Color correction in Nuke
- Have advanced control over your highlights, mid-tones and shadows ColorCorrect Node
- Target specific color for correction with HueCorrect Node
- Unleash your creativity with the HueShift Node
- And because there is No VFX without Roto, you will learn how to use the Roto node with ease
- Add the power of the Rotopaint Node to your NUKE Compositing skills, and as a bonus, blue or green screen keying.

Yes, layer based compositing works (e.g. After Effects), BUT nothing beats the clarity, professionalism, level of control, and power of node based compositing, the approach used the film industry.

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Film VFX

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Transcripts

1. Introduction: welcome. In this course, you will get up and running in New York with a fast track. You learn how to make your first new compositing in 20 minutes. How to move into interface with ease. What inputs are recommended in the VFX industry? How to use the grade. Note. One of the most used notes in color correction in yuk have advanced control over your highlights. Midterms and shadows using the core correct note. Target specific color for correction with Hugh Correct note. Unleash your creativity with you. Shift note on because there is no the effects. Without roto, you will learn how to use the road, a note with ease and add the power off the roto paint. Note to your new composite in skills. 2. 1. Nuke Interface: the interface off Nuke. How does that work? Okay, we want to have enough information to be able to proceed with that limit. Sorry. It was close. Something I've just opened because But this is how it should look when you go to work. Space compositing. This is how it should look. So you've got number one, your Vieux port Number two, your node graph another three. Your properties you've got here a library off the notes that you want to use. Okay. I recommend that you use the tab, as we said and then read to import or any other note that you already know. Should you not know what the note is? You just go there and start. Probably even exploring around with the carbons or with the Roto. Right? So this is the rotor stuff wrote. A lot of pages are the main ones. But if you don't know what it's called or you would like to start using other ones, then you can come over to the library. Otherwise, please come over here and then press tab or the shortcut. Now we can talk about shortcuts as well. It's gonna be our for reading. It's gonna be w for writing. It's gonna be a G for grading. So there are a few shortcuts. But the point is, I need you to get going first. Working in stand off, focusing too much on the letters for the shortcuts. Okay. Right. We have three main areas to worry about. The view port, the viewer, the nodes on the properties, the viewer. There are a few things I want you to know. Let me load another footage for you because that one is gonna help explain one functionality in the view port. I'm going to get a right, and I'm gonna call it number number four. Oh, sorry. I got this one selected. That's not good. Um, come over here and seen it before, right? This is before this is one of the footage that we have, and then it's got another five. It has an over. So it's just the kid. No background. And we haven't using this one. For example, purposes. It's not used to this bill, actually, um, so we have here an unfair, And if you want to see the offer down, you can come over and select. Okay? So in your view port you have the possibility to select RGB alone. RGB a with five Bolt or the unfollow. Okay, this there's another bit. Here is when you come, Let's move to another footage and say it's one like press hates to maximize their son. Done, are you? But you can look at your group. Read the Red Green Channel, Blue Channel. I'm gonna press all for hearing that turned black because this footage does not have an Alfa, right. It's a life action one without any grease green key in or anything. RGB is the fourth thing. There's another bit here, which is this comparison story here? This stuff in here in the middle. What is this? A b and then something in between. What is that? Let me show you how it works, boy clicking on this one in the signing number two King are assigned number two. Okay, so this is gonna be They got one into here. I've got Reed said b is number two here, But if I go to wipe and it's gonna be by default under, I'm going to get two lines here. I've got a and then Okay, I've got a because I cannot see the B one. If I come over there and starts, I just Oh, actually, I have the read one. I've got the re too. This is a little bit because they're messed up cause return is connected to one. Let me just correct this one quickly for you. Please read. One is this is meant to be. Let's make it read one. Okay, let's make it one. I'm gonna make this one too, okay? All right. This is not how it works. You have it split into you. Have it split, and you have the possibility to fade in out. One of them, the B. This is the B footage. Sorry. This is dumb. Uh, just says D Great one. Yes, this is the B footage. The footage is read is 31 Martin. A footage is read too. So you are able, actually, to do it like this is to see Cropper comparison purposes if it is the same place and then here, in this case, it's not the same place, but a similar place. If you want to do it for color correction or for any other purposes, you're able to see two footage is at the same time with this. So you are also able to shift. Move this around. You don't need to do it. Split it vertically. You could do it any way you want. OK, so that is this one. Let's switch it off. What? It was when it was on you got a and B and it tells you which one. All information about that. So you have to hear. Okay, let's switch off. We don't need it for now. What else? I would like to tell you about the interface. That is quite interesting. OK, something is important if you can't see what you're doing or something is looking weird for you in the view port in terms off something is messed up or it's black. It's black. If it's a black, um, its chances are something has changed here. So look for either something that turns red or check your here are you being so I'm gonna go for a on It's all black. Imagine you were working on this footage over, and I'm going to go to before and I'm working this footage just wanted to say, for example, I'm working on the farm for this footage. It was a seat it's number four. Would you be revealed? Alfa first. OK, I am working on Delphi, and I show the if I hear right, I showed the Alpha on. I'm working on this stuff and then later on, say, Okay, let's move on to another one. When you move to this one and it turns black, just like Okay, what is going on? Because you have changed something. So I need to go back to RGB, and you are going to end up with changes like, say, for example, if you tweak this, this becomes read. It tells you this has changed. You tweak this, it becomes red. Pay attention to the red indicators if, um because they indicate something's red except this one, which is a different purpose. Okay, that's reset this stuff to where it was. That was one right. This is Ah, By the way, this is your gain right to your exposure on this is gonna be your government. Okay? It's gonna be one here. Okay. All right. So this is about this one frustrating bit that you may encounter. Is the frame range timeline here? I mean, I was assuming haven't seen anything goes off. I had it on the right for a meter and I'm sitting. I've just put it back to the default one. OK, It's the 4th 1 is global. I was working with something else. I was working with him. But I explained to you why I do that Global is what it comes. And then you have the option time code. If you're working with time code and frames, right, this is the annoying bit. Not here. Actually, this is your solution, but the annoying bit is that you are so I put it back to default. Now you are work and say on number four, number four, if I click on that has only 249 250 ish frames there has got 249 frames and my, um might timeline here was like my frame ranger is optically 284. Why is that? Because the first footage I have imported has defined the settings off the I just pressed in our s. Huh? If you want to see the settings project settings, your present, this you highlight here a new press on the node graph. In the process, you have your project settings. And when I whatever you import first is gonna be defying actually your frame range. And that is not where that can be a bit handy. While we work with a lot off footage on, they have different frame Rangers. You may be frustrated. Is that correct? This one is 250 I'm just I'm just literally here on the would we do with all of this. Okay, Let's see what we can do. It. Um I'm going to keep it to actually, I'm gonna make it even worse. I'm gonna come here and see this is 3 30 55 This footage is the longest. Let me go back to my settings on. I'm can come here and say 30 55. Right. So this is global, Meaning it is. Whatever you're doing here, say 10,001 of that 10,000. Whatever you're doing here changes this. Why does it change it? Because you have chosen the project setting. But if you prefer to go for something else meaning if I accept them. If I have, I have this one in the view port. It reads from the view port, not from the no draft, not from the properties from the view port. If you go down here on global input You actually asking you Can you please give me the frame range off the file? I am saying and that's how you get it. Now you get 0 to 49. If you move to this one on, I am somewhere, let's say I'm there selected to be number two. What happened now is that it has changed from 249 to 18. 84. So this is how you change your setting? I would say I don't want you to keep changing your own stuff. If you leave it on input, it's may be much better the first stage because you're working with input files and you want to look to to look at each one separately without starting to get any weird. Um, we're known actions, actually. Frozen frames. What do I mean by frozen frames? I go to global here globalist 10,000. I'm just exaggerated. I have 250 now, but if I come over there and I select four in the View Port acidic four, I still have the kid. Wherever Gore got him like his frozen in the air there. What is that? The kid is moving into into you in the in the footage? Because if you come here, then you get him moving. Right? Um, Wyden? Is he still there? Is it not supposed to disappear? The footage office of the last frame. But because we have told actually, because by default, the setting for this footage. If you double click, could it is frame range before zero hold after the last frame hold. So before the first and after the first freeze, would the frame. So it gives us the frame. My drawstring last frame is frozen here. If I come to 5000 is lost, right? This is the last frame, which is 249 is the same thing. But if you go just a bit down, it's gonna be different. Okay? Right. So this is your sitting here. It's useful. But if you're worried thinking there's no action going on in my movie here, but it's because you are out off your range and your defaults to his hold. Keep the default. It's a good thing, but make sure you are working with input, if that's what you need. Right? So input now is the right thing. Let me go back to Global said this to 2000 or something like that and go to another footage . Oh, in out What is in out explains with a bigger footage. Let me go to this one, for example. Found Yeah, shown of the one show number one in this case is going to be right in and out. In and out is basically the important output that you define yourself. Let's say where do they start shooting? Okay, here. Start direction. I'm gonna have some people running over here under this a bit fast. OK, but these people shoot in. Of course, these guys run in. Let's start here. Yeah, that's still somewhere. This is got to be this frame. Let's say this is up in point. You press on I and you have defined your in point. You come over here a new press your when they've already finished here. Smoke is all over the place. Almost there. OK, we go is actually from the whole footage, Only the spots. Okay, press Oh, for in and out. Well, basically, you get the point If I go here and select you, show me how it is going to show me just in and out. Okay. So this is This is what These are the perimeters. You need to be where off? So that you don't get frustrate. Especially for the timeline for the frame range. Okay, Another thing. If you would like for the interface, what else? I have here? One. Okay. You don't have this. You have something like this. Then let me just start messing around with these things. Stopping this and then open s on. Go back to this one. We have a long list of things by default. When you open yuk, it gives you properties then then whatever you work on, if you double click, it goes up. But then everything else stays there. This might seem like a useful thing. I could have generosity from nuke to think. Okay. I'm trying to get closer to customers in terms of giving them away. The options listed here, This is one of the most confusing things you can work with. I strongly recommend you drop this 2 to 1. Okay. Work with only one at the time. Otherwise I'm gonna be tweaking the wrong properties for the wrong note. Sorry. You're going to be working, Not on your footage. How about does it sound that's really about so that so you're gonna be tweaking another footage when you think you've just done it for yours. Especially so something subtle off its mosque in or that is not great. Okay. So, um, what we have here is read to on and I have read one. Just pay attention to a few things. You need to double click. I know the distance could be a bit. You know, it's no. I need you to be aware of this. I have properties every 2.5 here. This one highlighted. You have sometimes the impression Let me just do this and click here. These things, fortunately, unfortunately, I think mostly, unfortunately, have no relationship with each other. The view port is showing. Read for Yeah. Read for that's read for the node graph is highlighting Read one on the properties is showing re too. This is truly not user friendly because okay, it gives you freedom, but you should always be a week. Oh, very careful that you need number one money to get my view port on one. That's one only two. Sorry, that should be this one to define it. Vieux Port on one. And then I need to make sure that this one is actually which is re to double click on it only once you double click on it. If you don't publicly connect, it's not gonna happen. So I'm repeating that tumor. You need to double click on it. It happens so often that you start tweaking the wrong the wrong notes. If you have here, transform, transform, transform, transform. And you don't you click. You have one collect. You think you're working on that one? You're working on another one. You've just moved another person from He's on her place and you don't know because you think you just moved it in yours. Double clicking is very important to get your properties here and please clear that list. Just get yourself one. And if you won't want to work with the settings you are going to press s here and you get the settings. Please note that this you just put it back to the default. This is how it comes shipped in nuclear. Open it default, ISF. Okay, whatever projects you're working, it defaults the full size format off. Four k, Super 35. This is not what you are working on. Most likely, um I mean, you can, you can, but in our case, it's four k d c. P. It could be working on. Then it'd be exported. I mean, your final exports should be something like this. So, um, and it is what you want to work with, right? So you need to set it at that. Otherwise, it set for you. And you may end up down the line with problems stuff not being shown up because you're Oh, your second is two k on your footage is four k. And what, you're trying to work here on his tentative P. So just make sure you have this one. Okay. Here, um, project settings just work on the maximum. You have more, Brady. I mean something. Do something that works for you. I don't know. I just go for the highest for the highest frame rate off that I have that the British has. This one is the longest. Is 30 35 Just go 30 55. I'm going to hire or not. Nice. One of the bit is if you want to maximize a window displaced for space. Okay, Whichever one you want to maximize your just pissed space aren't you just need to highlight . Just put put your minds there, and then you are going to be able to see that, okay? 3. 2. Up and running fast with COMPOSITING: we open, Uche, We get this workspace, we go to work space and go to compositing. That's that's what nuke is meant for composites. And this we're gonna learn today. All right, so we're going to go the first route. The fast track. This is the first way to learn is by doing things instead of just telling you. This one does this. This one does that and taking you through the whole thing. I am going to explain outworks, but I'm gonna take you in a result oriented approach. OK, so we do that first things first. What is this? I've got 1231 is your view Port. This is where you see your stuff. Number two is your node graph. These are the two. Okay. Two most important areas working on. Of course. You got the properties number 3123 Vieux port. No graph and properties. Fine. Okay, let's bring in stuff. So we're going to What we're going to do now is we're going to composite any much off three kids floating in the air above a river in a beautiful landscape. We're gonna put some background rocks in the in the front OK, Shall we do that? Let's do it. We're going to really fast bringing something in yuk important. It is called read. So we're gonna look for Rita. Where is read? Okay, readers a note. Everything in you is a note. It's node based. All right, so we're gonna need to import a note bringing a note. How do you bring in those? There is the not so recommended weight. I wouldn't Okay, I need to show you that. I wished I didn't show it to you. But you can find them here, right? Because this I don't want to go there unless you don't know what you're looking for, right? So if you don't know how it is called, then you can find it. Here we come off air read, write profile. Medium aboard, constant problem and come over to your color. Things that grade exposure. You have them all here, right? This is like your library off notes. But fast track is fast track. I'm going to give you the standard way of doing things, but not the shortcut way, not the keyboard shortcut. Keyboard shortcuts is a step too far. I'm gonna be overloading you with letters and things. Let me give you the safest route for the foot fault. Fast and safe at this fast and confusing and fast and safe. I'm gonna be the fast way. Fast way is Come over here and clicked up because the other fast and confusing way could be a car. I don't want you to remember everything. Are you going to remember it when you start practicing? Because I'm expecting you to practice. And that's how you gonna get your are you gonna get your w and get the your g on your keyboard shortcuts. That's coming. No problem. But that's fast and safe. Way is pressed. Apple what we were looking for. We're looking for important things for importing things in Nukus called REIT. So gonna need to write to read. Okay, read. Here is my footage. I'm gonna go on bringing the kids. Okay. I got here later. I'm going to show you how new behaves with different types of food. You've got red for you. We're suck black magic. Or so I've got Sony camera. I've got a few different things and I'll show you how it behaves with each one of them. But remember, one must that one important thing. The most important thing is compositing happens with often the note with image sequences. We're gonna come back to that. Okay, So let me go and get my kids. I feel I think it's so. These are opening eggs are images. Let me get em fast. Okay. When you press tab, so just press tab and I have gotten the last note of used as before. Just press enter and you get it loaded. Write something quickly. Go and get my for the So this is X are right. So if you can't see it, by the way, if this is turned off and I do not expect new to have it turned off because by default it should be turned on. Just click on sequence and I'm gonna get the sequence, and it's gonna look the whole sequence. This is how it happens in the effects. Compositing with image sequence is the second time I'm saying that I'm gonna make a point later. So this is number three. I'm gonna get a mother kid. So I think three kids are enough for now. I got six of these, actually, about three are enough. Okay, noise. So I've got three kids here. Each one of them. We're told in a moment I can't see them. Yeah, because you call because it's not connected to a viewer. That's how it works in in nuke. Unless it's connected to a viewer, which is this You connect something to this one? You can see it. I'm gonna connect it. But this isn't the way our recommend to connect things, huh? I'm gonna do it. But it is the last time I do it. And the last time you do it, Okay. Connected on You can see it. That's it. Ok, let me just connect it because I don't want you to do it that way. There's a faster way. All right, Let me first drink in my footage or everything I need. Let's get the background background is mountain Lakes off and I'm gonna go on get rocks. I want to get this rock again because I'm a bit lazy. I'm gonna use the same rock, but differently. All right, so we have This is all we need for now. We're going to go very fast and composite this stuff Now I'm gonna have to put these three kids somewhere. Just sign this. Okay? How do you sign? How do you view to be able to see what you're doing? I know you have your Tamponnaise, but you able to see what you're doing. You need to assign it to the viewer. You can see all you gonna sign all of them and starts moving by number. It works by number. This is number one. So how it happens, how it works, where your cursor is placed defines what you're doing if you're placed. If you click and place it in the know graph, you're assigning a number. If you click owned, press a number you're call in to see from the viewer. That number. Okay. I'm gonna come here and press one of assigned it. Yes, because I've just assigned it. I can see it in the view port, but I could see I could call otherwise. Now, I only have one. Let me get the other ones first, and we can do that. Okay. Press on. This one I'm pressed to. I'm talking about the alpha numeric buttons in your keyboard. Okay. I'm assigning number three collected in before clicking up a fire click number six done. OK, if I come over here now and press one, I see my first press two holding moments. Where's my cursor? Off press clicked on the Vieux port and I have on the viewers called Viewer. Just have using my technology. Vieux port. Um and I have my crecer in here. That's why I'm able t move between them. 1234 But if I come over here and get something selected on press one, it gets messed up. Not may stop. Basically, I'm saying assign it to the one that selected. Okay, let me undo. No. Okay, just re signed this one toe one, and this one becomes then, too. Okay, fine. So how do we do that? How do we compose? It thinks well, we're gonna have to bring them together. Bringing them together means merged. Let's merge that. Okay, what do we need pressed up? Everything is with press tab. Okay, You're going later on to start using keyboard shortcuts. Spot. That's another step. Lets no get working. Okay, merge. This is much. When you press when you bring it closer to a node. Teoh, align. It connects. Marge, the only important to know about that is that there's be in. There's a what is be remember it as background A is what's in the foreground atop. Okay, so your background is what's behind, but I can't see it. I've connected the thing back. See it? Well, because your view port is still on number one. And this is number one. And before, if you come over here and click on it before you're gonna get it. All right. So how do I get my kid? Stan, I have my bedroom. How do I get my kids? And how do I get my rocks? You get your kids by just connecting a but I have. Okay, this is this This this This has all far this image. This, um, sequence is with Alpha. It's already being kid out, but I have three kids. So is that it? Like a bean? And how do we do? Do I need another emerge note for that? Do we need to keep at emerging judgmental? And it keeps crowded and no, you just point. So I'm just gonna move this one away is now. We have one viewer. We're going to remove all of this stuff. I connected them to that. You can see what we're doing. OK, we've got this one as Yeah. Disconnect everything and get me this one as number one. Yeah, I'm going to see just one thing. Okay, Now, let's come over and connected. That's becomes a two. Can you see it out? Uh, look over. Connect. That's a three. Well, not really. Kids, okay? I don't bring in. The rocks were same thing. That's a four. That's big over here, shall we? Let's be for that's a fried. Okay? We have a problem, don't we? Because this image is actually going on for that's important in eunuchs. You know, um, even sequences. Sometimes when it doesn't work, when it doesn't work, that sometimes you have I'll find it works. And sometimes it doesn't work for you. At this stage, when you're starting is a beginner. Just remember one thing. It doesn't work. Bring in another note. It's called promote pretty mult. And that's your note. Says delete it. And to select this one on press promote, that's your promote. Okay, I'm gonna put it on the other one as well. Promote. And here we go. We're now using the on farm. Okay. Could explain this later. But for now, if the Alpha is not removed, it's not visible. If all of us not working use the promote for this one, I don't need it because it's working. OK, let's do that. We have brought all of them together now. Well, okay, so is this. This is like mixing everything in a pan to cook. Funny. The right proportions gave you the right proportions. Lester, that Let me bring this one back here. Let's have my background of foreground. Thinks and different all. By the way, this is probably a beautiful time. No, Let's get it, Missier. I want to get a little miss year before I can show you how you organize your node with one click. You're you're no graph with one click. Let's now get this stuff going. So I, um, actually gonna disconnect because you don't work like this, Bring everything together. But I showed you how you do it. I'm gonna disconnect him. First I disconnect a disconnect, this one and just keep the kids. All right. I want to work on the kids first and then bring in the foreground. Kids. Okay. I want them to be levitating. of off the river in their back there. Okay, so what do we need to do? I need to shrink the size, and I need to move them left and right and probably open down. How do I do that? You need to bring it and note. Everything is note on. Come over here, Give this one selected on pressed up. And it's called Trustful Transform. Okay, you have a transform when you have it. This one collect new the new press tab. Whatever. No, do select is connected to that. I'm gonna need to do it with all of them. So it's the same thing, because after you stressful last, it's still ready for me. I click here. Tab, Transform Done. Okay, I'm going to support to transform Transform gives me a lot of options. By the way, we have now a in the properties here to be really careful. I really want you not to use this setting here off them because it's getting really, really, really messy here. We've got a lot off properties. Andi, I recommend I know Nukus trying to be a bit generous with how it showing you all properties off the notes that have been 10 properties for 10 nodes. The properties for 10 hours. Thesis. Too much, too much. You can get easily confused. Please get in the habit of getting just one one property at the time. Otherwise, you may start tweaking the wrong footage and keep in mind you need to have a double clicked . Can you see now that we have, um, yeah, we have We have read have transformed three. If you come here and we select read one. We have this one selected, but we still have transformed three. We need to double click on the thing. DoubleClick. Then you get the properties. Okay, So transform. Which one is This is the year the kid over here are We're gonna have to scare him. Um oh, listen. Before scaling, let's move them around. So you get once you've double click on transform, you get this. Sting your face so it can move the kid around. Okay, I'm gonna move him here. Let me double click on this one on Move the other kids here on double click on this one. Put this one and no, actually, I mean to have this one in the middle. This one in the middle? Yes. Something about Okay, I need to push them further. How do we do that? We just do it with scale. Number one is Scales is going to 0.3, possibly for this one. Yeah, I'm done. This one is gonna be zero point three. You know, Let me go back to this one. Put 02 to a point to some skinning down to kids, and then I come to this girl over here and give us a zero point three again. Yeah, she's too far away. Yes, I'm gonna bring her here. You could just grab this handle here, and it should work. Fine. This is okay for me. This is okay. You could push them further, actually above the river. But it's up to you to autistic choice for now. Make it. Where's the other kids symbol there, ever some liners? Yeah. Nobody can push them further if you want. I do that. I missed it. Is zero point to Andi. Give this fellow here. Is there a point 15 on this is gonna be 0.25 Something like that. Just to give the impression that one is is closer to us than another. And the other one is further back in the background. Good. All right, now this is done. We're not to bring our lovely rocks in the foreground because I don't like to saturated leaves in here. These are okay, but this is too saturated. Too bright, too. Not really. It's attracting too much attention. I want attention to be under kids. I'm gonna bring these rocks in the foreground here. I'm gonna blur them. OK, so let's do that. I'm going to connect this. Yeah, Connect. Okay. It works best when it's on the left. Let's do that. Connected in here. And I get my rock. Okay, this is an ugly cut, but for me, it's just quick stuff to get the upper part. Right. So this part works best. This is not really good. Is this was, like, really rough selection? Influential. I am going to again a transformed because I need to move this thing around, right. Be careful. This is not for your rock. This is for, um, transformed three. Yeah. Okay. So I'm gonna have to bring in a transformed. What? Sorry. Let me just select this. Promotes with the last one and then transform. This is my transform nerd. I know it's getting messier. I want the node graph to get even more messier so that I can show you how you can with one click, but it back put it to order something that's organized. Let's without quickly and transform. How do we do that? I actually want to move it around and I want to flip it up. I don't want this because it has white. Why? It's edges. I'm bringing, not ideal footage. You know how to deal with it as well. I want this part here to be on the summit to flip this thing. How do I do that? Well, you do. It's boy. Bring in another node. Mirer! Mirer! My heart! Okay, Mirer. And then you know you can sleep horizontal or vertical. Yeah. Flip horizontal now. Nice. I could go back and double click on this and then move my Brooke here. But I wanted to cover everything, so I'm gonna need to scale it. Let's go back to the transform note on here in scale. I'm gonna press 1.1 112 Maybe you must move first. Yeah, that's enough. That is more than love for me. I need to cover just this one, maybe. Yeah. Just for fun. Have another rock. One is enough. Maybe about you know what? Whatever. We're gonna bring another. I want to show you how to do. Thinks in nuke. Okay, promotes. I'm gonna have to bring in a transform the same thing trans form and a mirror. Well, let me let me first see what I'm doing before I do my work. Okay? Okay. Transform is gonna be Bring it here. Yeah, I want to have That is not great. It's not a great place. So what do we have here, guys? I've got the same scene corner. That's not good. I won't have the other side. So let me bring it. I want to re flip it again. So flipping it means Mirer and with my room gonna flip the horizontal better and get justice parts. I don't like contrast for my Bring it over here. Well, I don't want like, this is this Is this edgy? You shouldn't do that, By the way, when you bring your footage needs to be clean. Well, I'm showing you how to deal. Also would not so ideal footage. I go on a CD s. I just want to see this up a party. So I adore rotated. Rotate means we just want selected with the right one double clicked. I come here and say What? They just move it years from two like that. Nice, nice, good. This is what once, but I want to hide this one. It was just moving a little bit down here, right? Something like this year. But I want this rock because they have this right. It here ugly to be behind the other one hidden behind the one. Just get this one and give the impression that they're not close to each other. And I'm gonna do that with a blur. But for now, I want to move it. How do I do that? Actually, the numbering matters in the A's. So if I disconnect this one first disconnect, it's on and then reconnect this one of them before and reconnect, It's always number five. It goes behind. The last number is the four crowd is the utmost foreground. Okay, Good. So now that we have our stuff, it's time it's getting Missy. Let's use our magic number. Sorry, Oh, Magic organizer. You're going to, um, cynics everything. Press shift a shift in the highlights of sex everything and press on the keyboard Letter l on all of us and everything looks so beautifully organized. That's nice. Maybe not as great as you would want it to be. But it is definitely working something like this. Yeah, just to avoid those overlaps. All right. Good. So there's there's something more than that. I wanted to have some blur. The to blur the rocks actually strike. The foreground is blurred. The very last bar ground is blurred. And what's in the middle is about shop, because that's the focus off our image. And that is the last thing we're going to do. The last thing we are going to do after my rain. So I'm gonna need to blur note here, blur and the blue note here, Right, Come over on you say say for example, for on I'm over there and you say this is gonna be 4.5 something like Okay, maybe more. Just 15. You just showed up. It's working. No. Five is quite tiny because I'm not sure if you're able to see the difference That's why I'm exaggerating things church of you, how it's actually working. So this is for four, and this is five. That's no good. This is 4.5. Just give the impression that one is closer than the other. Okay. All right. So yeah, this is have you composited stuff quickly in the 1st 20 minutes in nuke? 4. 3. Nuke input and image sequences: Now that we have already done a first work in nuke, I'd like to take you back and explain a few things cause it's important to know that number one compositing happens with image sicknesses. Why am I saying that? Let's see. I'm going to import. Which basically means read. Backed up, read. I'm gonna bring some footage. I'm gonna start with red footage. Say, for example, this one This is coming straight from the red camera. OK, do 2 to 5. Just on interesting frame to look out and then I'm gonna connected by pressing one. And this is the red footage, right? So this this is small. Here, you can scroll use the school wheel, but you can also use F or h Okay, if to frame it like this way to get some keeps on borders and H does not. So just maximize the use of Vieux Port on what you have is what you report it and you double click on this. No. Do you get a list off off options and perimeters? Actually, this is unique to the red. Actually, each camera footage comes in new could different para meters. Black magic is going just four. You know that the additional two. Whatever it comes on top here, this is like, standard part. And this is the rest off What comes in with them? Red raw footage. Right, Um, in black magic is just fourth. Um, I have the possibility, actually to work directly with red footage. Role red footage in nuke. Now, this is not necessarily the case with other cameras, because New York is not great at important all the four months. We're gonna try to bring in some sunny as f seven if it's seven forever seven, um, footage hand is gonna give us an error. Let's try to connect it and it does us. Sorry. Unknown and supported. Codec. This is a Sony Camera Sony F seven. But this is straight from the camera, so it doesn't import it. Okay, let's go and get read. I'm gonna try to bring you a more file, Doc. More fun. This is a Windows machine. This is a windows machine, and I'm trying to bring in a more file. What does it give me? Ahrar? A sign? Number three. So Whoops. More former cannot be recorded without more. 30 to almost 64. Enabled right. Do you get the point? Nuke is not great at reading everything. It does read. Come on. Camera's footage. It does read. Um, it reads I mean by that road furniture row from cannon row from red row from Black Magic Orsa. It's all in. It works, but it doesn't read. Sunny. Um, this is actually not roll. This is four K, but normal. It doesn't read the nxf sunny. It doesn't read more on windows. Um, the point is, actually, the real point is not it doesn't work or it doesn't read. The real point is you are in the realm off image sequences. Compositing happens with image sequences. Get in the habit, please. And if you are working in a studio, if you're gonna work in the studio or even if you are actually gonna working as an independent filmmaker trying to make good use off the compositing capabilities off any compositing software, whether after effects, new nature on any other composed himself here, get in the habit off working with image sequences. Because when you export something from Meyer, it comes as an image sequence when you explode something from Houdini Cinema 40 blender, three ds Max View Rajan. Everything comes in all the three d world works. What ever sequences? What compositing is? Yes, sometimes bringing to D with two D, but it's best stunned. It is best done with image sicknesses. So I have I have this. I have another footage, actually, which is Imus equals? Yes, we have. We have brought in. Actually, these are the year. So these are the same kids? Yeah, same kids. These are. So if I wanted to export this as dot move, by the way, it's the same. It's the same. The same file J R. Suggests another kid J. Green screen. But here we've got em. It's another child, but it's the same project. This was exported as more as quick time on this one. Exporters next are in sequence. It works fine with the sequences. Image sequences are your first, uh, choice. If you can't get which basically means that sometimes it was Transcoder. It may mean that it's not applicable for it, but it may mean that for some other cameras, you are go into trance coded and export as image sequence use in sometimes the manufacturer's software. That's actually quite fine doing that really quite fine doing that. You may be the ball. I'm gonna learn the sunny software. I'm gonna learn the cannon. How did they call it? Can on road development. Something. Every company's got it. Something red has got. Um, you don't need it. You don't need to do because new reads red perfectly. What? Even read living to show you read has got has got this Red Senior Expro. Um, And in here you can you can You contrast Co thinks that's issue new does not read it, but actually, nature on does not read it. So if you stuck image sequences come over here. This is your it stuff. Uh, drug is in here. Then what? Have a pretty near then Get your whatever. This is not a course about red senior ex professional, But the idea is that you are meant to be able to deal with footage, no matter what it comes from. A no matter what kind off error nuke throws at you because you're in divvy effects. Compositing innergetic was real, right? So when you get oh, I get it, say, for example, use this parts. So this part. So we've just got in and out, and I'm gonna be able to use this part only. And then you go exported as necks are from red. Seen ex professional. Now, you don't need this for new because it works brilliantly. You just close this. Let's go back to New York. No, it's not the one. You don't need it, But I'm just telling you, you may end up star. I didn't get into mirrors and stuff like it's It's not meant to be a movie foil. It's Menchov seats image sequence. But you know, if it works, as is fine, get, get, get. Get in the habit, please. Off using any sicknesses. That is the point. Him out about sickness is now we're gonna move to something else. 5. 4. Color Correction: Grade Node: color correction in nuke. We're going to start with the drayd note. By the way, if you want to see more, there's an icon here where this is the library. Full library off your arm off your arm, Uh, notes and then hear this color. So clicking here, you've got a whole list off notes on. We have selected for you the nodes of that. I used the most often those that you are more likely to use than others. Okay, so it's gonna be, um, starting with the grade. Ongoing Uses. Well, color. Correct. Okay, Sounds. We're gonna use you shift. Where is that? You shift? Gonna be using you? Correct as well. Okay, so let's start with the two most, um, commonly used great and color. Correct. OK, so I'm gonna click on this one and press stop and get myself a great note. Right grade. What do we get in here? So this is a red footage. Let me double click on the photo. Just is red footage. And it comes with all bells and whistles in terms of perimeters for roll. This is red robe footage. Okay, Right. So you can already tweak things here as But then you are impacting the young. The the file on the hard disk. Yeah, so? Because not because Newt is doing it, but because red drop para meters do that. Okay, you can undo that fight. I am not going to touch days. I'm going to show you how you can use your color grading using the grave note. So I mean, click on this. By the way, I have changed this from 10 to 1. What is recommended to otherwise? You get too many properties open there. And he just you're just working with one of the time, all right? Working with colors. What is important to know is that it. But what is important to do is that it's it's you need to see what you're doing. Its color now. So what can with values? Yes, we have values here. What? We're not like I know that color grading is mathematical operation, But still, it's What do you see that you want to You see what you rise? The objective want to achieve, so to be able to see better, there are a few tools. A few graphs that want you to open so that you know what we're talking about. Here, let me please our first open these graphs, and then we talk about the rest, right? I this this area over here is empty. I'm gonna make great use of that. I'm gonna I gonna split this vertically and then split this. Okay? I want to have my victor here. I want to have my haste a gram here. I don't want to have my, um, way form here. Okay, So let me do that on display this one horizontally, right. We go get our vector windows, new scope Victor and jumps in here and just put it like this. Okay? Let me quickly go get a history. Graham, this is our instagram. And here is going to be our wait for him. Would racket. Okay, this is how I prefer that you do your color work in nuke. I mean, just quickly turned Disable this. I have a lovely application called F dot locks, which helps, um, in the evening, it turns it it's like night shift. But when I'm recording, this is not gonna be We're working on color, so it is gonna distort your color. Okay? I just disabled it for another hour. Here we go. OK, but it's quite useful tool. By the way, if you're going to okay, useful and a warning. If you're gonna be working a lot with computers up Tulum late at night for you to sleep better, it's good to have that dot f dot licks. I think the website is get F looks until ever. It's free of charge. You can use it on on Windows on, I think markers. Well, yet Mark and the Knicks or three three of charge, it's bit like night shift. Okay, closing the bracket about this one that came interrupted our work, but a warning here, please disable it when you're working at night. Or just make sure that your color great. It doesn't happen in the evening cause otherwise you're gonna end up with all this is to oranges because that's when your when it was open. That's the right time, actually, for this thing to prop up for us to talk about it because a few people actually would be great if everybody uses it because really makes a difference in your life in terms off how well you sleep the following day. Relief Good. Let's go back to our grading. This is going to be of course, if you have a Mac, you've got the night shift. Sit on you anyway. OK, again. Back again To the great in. Um, all right, now I have my stuff. I'm ready to look at What? The great note. What can we do? It a great that we have here a footage that has a certain values. And when I move in here around my dresser, you can see here. This is changing. But it's changing because the footage is not overexposed or to dog exchange in just between zero and one, actually 0.0 something. But the values are between their own one. This is why, when you come off in the grade note you're gonna find 0101101 What is this story of zero and one, if not, you're not familiar. If you're big enough to explain that if you know it, fine. But it's worth going through this again. Right? Zero is back. One is white. Okay. What I mean is really black. Zero is pure or a zoo. We call it technically absolute Black zero is absolute black. One is absolute white. Um Okay, so is there something else? Now there's zero and one does in our values between 01 But there are also values less than zero. And they get it. Values 0.3. What is that? If zeros black. What is so? I minus 0.3 minus 0.3. If zero is black, what is mine is Europe for three minus 4.3 is what is called sub block. So blacks, you don't wanna have them. This is why your values need to be between zero and one. And we also have five years of on higher than one, 34 sometimes six. What are these? If the white if the absolute white is one what are these? These are called super wise, and you don't want to have them either. Okay. What? How do we do that? We do it, boy, How do we make sure we don't have these? We clump. This is by default. It comes in Yuk. This note comes by default color black clump. I would recommend to have the white clump as well, so I had them all at all times. Um, checks in check on at all times by the by. By doing this, you're going to be able to make sure that your values stop. Zero don't go below zero negative values. So blacks earned. It doesn't go beyond one. You don't get it to the Super Whites. All right? Simple whites. Not good. So blacks no good. 0 to 1. We can talk, Right? So let's not talk about these parameters, are there? What? Shochat, shall I show you? Actually, I'm gonna mess these around and show you the sub blacks under super white. So we should show them to you in. I'm gonna open. These are Let it. I'm gonna ruin this a bit. Yeah, I'm just ruin it and show you that when I come over here. You c minus extort me. It's seen minus here. See, the last value was all negative. Here is minus 1.4 everywhere. Okay, these are the cellblocks on. Let me just restore set nerves to default. Yep. There's now you set it back to on the default is right. Click on the seven notes to do for you if you keep messing around and then you want to go back to the default let me mess down the whites to show you the year. Yeah, Let Z killed this one would watch. Right? So I come or their aunt. It has divided between zero and one. And now I have What is it? 2.7 to 1.4 and become over here is even more 4.6 for the blues. Okay, because this is this coin. All right. Good. So we're all going to bring this back to it. Waas, Andi, make sure these are on to make sure that actually lets their own Let's mess with them. Now. If you come over here, it's come to zero. I mean, yes, the image is messed up. It doesn't mean it doesn't prevent you from messing up your image, but the values don't go over 20 Let me reset to default. And for the white, even if you go down the values stay at what? Sorry. Even if you increase the whites, which basically means go down on the young indicated that you still have one as a maximum. It's clumped at one. So this is to explain how it goes, right? Um all right. I'm going to need to do this again. So yeah, I just leave it. Leave them on. Leave them on. We said this. I'm gonna lead along. How does that work in here? I opened all three of them. You don't need to do that. But you know it's for fun. You have enough space here. Let's do that. But I would like to explain using two of them the history Graham on the way for which has basically show use kind off similar things for the purposes that I want to show you. This is zero on. This is one. The values are distributed between zero and one. There is a lot of black. So this is the zero here on these already values. And between the one somewhere the absolute white is here. Absolute black is here. Let's see it in the way formed Absolute white is up here, right? And absolute Black is up. There is down here. Right. Good. So because these are minus and it shouldn't go more higher than 100 so you don't go lower than zero. All right. When we play around, let's mess again. Our footage see what happens. Black point Now, I don't know this time actually to know it's not said it's not messing off or just tell you what each one does. Black point. It leaves. It leaves the, um sorry. It Okay what it does Because you have the value here of zero. What if you look at Look at if you look at it this way, you are telling Yuk, can you please for all the pixels that have this particular value, make them black? So if I say well, this is already zero. So if I thought I knew can you make 00? Yes, it's all the zero it can you make 0.2 and anything between zero and zero point to make it zero, which basically means make it black. Everything in Karameh in color correction is mathematical operation. So black point here because if we just let us go back, if I move around, you see that most values are between zero and 0.2013 on this 0.0 said here you've got 0.3 in the red. It's not much. It's on the lower spectrum. That's why you see the mayor. That's what you see in here. The one is here. Most of stuff is it happens closer to zero. Right? So if I bring Theise, see what happens in here and see what happens in here is gonna get sucked by the zero by the blacks. I move it up and you see that the shapes getting sucked and it doesn't care. Actually. About what? Pixel? Just a moment a pixel turns into this. Values your point. Optical off till his value. It gets sucked, it becomes black. Same story happens for the whites. So this these to the opposite thinks on these two opposite things. One for black, one for white, one for Blackmore, for white. Okay, so Black Point does this. So what? Points will be the same. If I do like this, you're gonna notice that I am telling you every big soul that has a value off uphill zero point look up there. Sorry. We're starting from the one here. It with the black. You're starting from zero. Anything between zero and your value becomes back. But here for the white, you're going down from the one. Anything between one and 0.6. Make it white. Because most pixels happen lower closer to zero. I'm gonna have to go way down for this to start becoming obvious. See, in the history, Graham, you can see it's getting sucked towards the one the pictures are getting. It's like you're using a vacuum cleaners that just getting sucked into the vacuum. And when you look at the way form, everything is bean evaporated off. Just get going up. See in here, onion here. Okay, okay. Let me just go back to be said nose. And then don't forget to switch on my white clam because it's not part of the defaults. Let's go down here. What is the lift? The left does something quite interesting. The lift does not touch the absolute whites. Lifts imprinting up, leaves the absolute whites intact. Have you noticed in our shape here it messes with everything that is around black, but the absolute whites stay put. They don't move. See, the shape changes, but the absolute wise not to don't change the reset our gain. Those exactly the opposite, which generally is, tends to be referred to as exposure. But in this case, it's exactly opposite off what they lift those. The lift in the speech on the lift keeps the wards the absolute words intact and starts lifting up the blacks. The gain does something else. It leaves the blacks the absolute blacks intact and it sucks. It sucks it. It lifts up. Oh, the other values everything else. Okay, Multiply is just a mathematical operation multiplier. So it's a bit like a multiplying. What you have offset is quite interesting. Set stuff, Teoh. Default. Let's go back. Offset is quite interesting. Is the only perimeter in here that does not care. It doesn't care about what all the others do. Care a little bit about the absolute lift. Doesn't touch the absolute blacks was that eight year Doesn't touch the ups. Absolute white sari lift doesn't touched up to with white and gain doesn't touch the absolute blacks. Officer just doesn't care. It just moves the whole thing up. I just come over. It lifts every 10 itching. It moves the whole shape. Everything moves up, it doesn't care. So this you're going to need to be careful with this because I took in America. Big Five. I'm exaggerating here. Thinks this isn't color grading. There's just explaining to you how each one works and that actually some of them, if not most, if not, actually all are just changed with very, very small values. Sit notes to default. Okay, so what, you're actually doing your lifting everything up? Don't do this for compressed footage, please. Because when you're lifting the blacks up, even the absolute blacks up and you have the compressed footage, there's no detail there to be revealed. When you have a role, there is some detail to be revealed. So I bring this one down. The black is gone, but you've got much more detail revealed on the whites. If I bring this 10 you can see more off the, um the smoke here, the defense in the smoker doesn't mean this is the right setting. All I'm saying is there are details in the role file, but not in compressed ones. Yeah, set to default on the guard, Monta Grammar is the well known grammar. What it does is quite simple. It moves everything from the middle. So these all those moved from the top on this one from the bottom this one from they moved from the edges. This one just moves the whole thing. It doesn't care from where the gamma moves it from the middle kind of targets, the mid points, What you're doing here, the shape have you noticed, remains intact. The nurse, it moves, It's from the middle. It's like a very gentle way of moving everything. That's why generally, um, changing the gamma moves everything around. See, I mean, just reset this show you when you do this, the game, it distorts the shape. I'm looking at the history ground. My music. This program, uh, in this case, lift the shape off. Our graph changes the girl Mark stays as is. Yep. All right. So these are the May domain now, things to worry about in this node. Now we're going to move to another note. 6. 5. Color Correction: ColorCorrect Node: color. Correct node in new cow Does that work? We're going to add one to see how it works. So color Correct. Now this is one off the most used notes at In this case, I am going to close one of these actually indicate clothes. All of these except the way form, because you get the point right. You get how this stuff works. I'm going to close pain on clothes, Spain so that we can reveal a bit more off the goodness that this node has to offer. What is the difference between color? Correct. On grade one main thing, you're given the chance to act on our shadows mid tones and highlights separately. This is the main bit. Otherwise you have your gamma your gain, your gains offset. You got my contrast or saturation. You have five things to work on. Either master, which basically means the footage like everything. Or you want to focus on the shadows midterms and highlights What? Our shadows, what army turns and what are highlights. Well, sorry. I did not need to define them in English for you because they are quite obvious. It's the definition to the mathematical definition that nuke understands nuke is asking you this question. What is shedding? What are shadows? What? Our midterms and what are highlights? This is part of the note. This question is part of the note on you may need not to answer it, then nuke answers on your behalf, but you're given the chance to give an answer. And you do that in the tub ranges. This is where you yourself can define the shadows, the midterms and highlights separately. If you come over here with your, um, you could so and you put it somewhere, it is going to tell you in those in done graph there where you are, whether you're in shadows. Where there you are. Just come over here. This is Mr Shannon. This is mostly shoulder. Um, highlights. That's come over here. This is a highlights. Yeah, got into highlights. OK, so these are shadows. These are metal ones, and these are highlights. You can define them. This is what I mean by defined So telling. Nuke. What is a shadow? What is a mid tone? What is the highlight is something you can do. Let me just come over here and the breast on the space bar The moment ship pressing the space bar. You get the whole thing extended on. I can explain these better this as a transition between your mid mid tones on metals of the meters on your highlights. No, it's so what you can do is define here, using okay off don't come and go in any lower than zero because our ranges from 0 to 1, we don't accept suburb blocks and we do not accept super whites. So in this case, it's why am I showing you this part is because you're given the choice. That's all you can any moment in time, come over here and say revert the changes made since this control panel was opened on it goes back to the initial definition as it came shipped with nuke. All right, so this is a choice you have now. We go back to our, um, shadows, mid tones and highlights, and you are given than the possibility to act on each one of them separately. Let's try to do that. Let me go Press on space, martyred, drinking again our normal interface. And let's start tweaking some of this right, so you get another frame Yes. Gets another frame. Let me get to 2271 interest in order to got a bullet getting out. This is not a muzzle flare. This is not something that was added. This is real stuff. So this is a real weapon with riel. Stop getting up. Right. So let's no work with this. The, um, saturation. Okay, I don't need to explain this, cause this is like your acting on your footage, right? So you acting on on the whole thing? You know, accident highlights separately. Saturation, saturation. You saturate your your Ah, the footage. Contrast is quite obviously young. The contrast specially means you are making your blacks. Guys, you're reducing the distance between black and white. So you are increasing the difference between blacks and once, Um, your gamma is exactly what was explained in the great node. Gain is the same. Offset is exactly the same. You got the same things. The difference as we said is shadows me tens and high. Not so. Do yourself a favor. Closed up muster, cause chances are you're gonna be You're not gonna be working with it Too much endless. Unless you don't use the great note and then you say, OK, I'm going to do everything in here. Nice shadows. You can say, for example, Okay, in our case, because I have no, actually, this is unrated footage wrote, Read below and grated for just hasn't even Bean reached reason. The Roma the role barometers Red Roma parameters that we have in here. This stuff I haven't even tweaks that haven't changed anything. But that's just to show you what we are so saturation. I can target dumb mittens on d Saturday because the bullet is, I think, from the highlights. But I could find out about Go to ranges and I can go to my bullets stuff. Yeah, it is somewhere in D midterms, actually. Says Mido's All right, don't have too many highlights in here because most off the because this is not I didn't use it. I didn't use the red thing because if I If I moved to the native by yourself, this is I s or 250. If I had moved to the native I so it's gonna be bright up. Yes, no brighter. Let's keep it to that for now. To work on that, I'll change it back again. By the way, if I do, this had changed in the hard disk. Let me go back and see. How does that impact our fellow thing are now? The bullet is Ah, highlight because of just move the I s 02 flight 800. Okay, the bullet is high, but I'm not gonna be able to target the boat. Right. So this is like, this is highlight. Disguise. Highlight. You gotta love highlights. This is more shadows. Yeah, on some. Midtown's in here. This guy must be in baton. This is gonna be a bit closer to highlight. All right, You get the point. So now, color correct in terms off. Say, I would like to de saturate my highlights and say I'm going to increase the contrasts. Have you notice what happens now to the bullet? Well, this is not realistic, but I'm telling you how you can target areas using their, um affiliation. I'll say, Is it affiliated? Teoh highlights for two shadows or two. What's the midterms? When they said this back and then increased or reduced again for the highlights. So this is how you target you'll? You can work on separate. You could work on them separately. Okay, 7. 6. Color Correction: HueCorrect Node: another note we would like to address in the color correction. Is the hue correct? Why would be used that you cracked. Here we go. Right. We could connect this one on connected here to the viewer. I would like to get just get as one, because as one All right, the moments we have the q correct. We get the properties for it in here. And what is this? Well, let me tell you first what it is generally used for, but but it can also be used for any other purpose. All right, view correct is quite often used for the removing the spill. The green screen spill on characters on props on vehicles. Something is grossly something is Chinese something Israel reflective. Um, you can target a particular color found act on it, de saturated. That's why there is here a saturation, saturation, luminosity red, green, blue and then read Suppress green suppress blue suppress and saturation threshold. Oh, right. How does that work? We're not going to use it on a green screen because we leave the green screen for the keen . But we are going to be, um, working on which foot is should I work on. I think I'm gonna work on this one instead. Yeah, let's work on this one instead. I'm going to connect this as number one, but I'd like to my hue to be connected here. Marty, Let's work with this one on day number one rights. Let me go back to a frame that has a little bit more interesting action in there. Writes something like this here. All right, now that we have this frame, we could work on it. Let's say we would like to de saturate the blew off his jeans because it's too. It's standing out. The going was dead over here, um, accented. It has got blue jeans and with the whole thing, it doesn't really what? Maybe you want to highlight the bites too much. I think the problem happens. Would like to highlight more what's going on in here instead off What's going on here? Right, So let's don't get this. How do we do that? Have you noticed when we move all Ramos, the young indicator changes it, and it's because, well, it stopped. It stopped here. Not where we select say we click here, and it doesn't work like that you need to press control and click and not just click You may, you may click, or you may select a particular area. I'm gonna select off. He's sorry. Shift shift. Control Shift control shift Control on. I would have said it's part of his teens. What if he tries this? Okay, I've done that. Now what happens is we have this indicator stuck in this value. Stunned. We can now target this particular Hugh. All right, So what we're going to do, say, for example, we would like to do saturate we car, We're going to come over here. So it's It's this moment. I'm gonna push the points closer so we have enough points to play with. I would like to have this one closer as well. And then let's select this sad saturation. Don't bring it way down. Now what happened? You see that a lot has been impacted. It's not just our tells us it is a lot, because these colors neighboring cars are also to be found somewhere. That's where. So we're gonna have to bring this a bit closer. Bring this a bit closer. Sometimes it's a bit a pain to move this stuff And you do have these, um, side effects, shall I say, Have you noticed on the left that something is jumping over that? Well, just don't bother without for now, I'm going to do what I need to do. I have just the saturated I've kept most thinks what we see most because this color does exist everywhere else. But most things, um, as they are, I have this side effect over here. Why did this one jump? Well, my point is not why, but actually just bring it back. Well, Iwas, that's it. Sometimes weird things happen. Then we just need to make sure they are set with. All right, All right, let's just let's go back. Just dress f hopefully unafraid opposite Freeman on that one. No one wants to free them frame in general. Oh, wait. So I have now. I'm just moving it with the scroll wheel. Personal. The school wheel moving in front. I have this Saturday. Have you noticed much? Mostly mostly 95% of the colors of state as they are. And then I'll just do saturated in this. This is a much better artistically. This is much better. Teoh not to have actually a color that is attracting too much attention when it's a detail , it's not about done the young. Okay, it's about the dead man. Actually, it's not really demos but the daughter of the demon. But it's not about the trousers of the daughter of the Denver. So when color is too bright, too saturated, we can decide Rate that. And this is how you target thinks. Now this you do when you have, for example, spill on Greece Kingsbury screen spill on a character on the glasses, off a character on anything that is shiny on the shoes off the character. You can target those the exact you that you find on that object or on that oh, character skin done weather so you can you can use it for this bill as well. 8. 7. Color Correction: HueShift Node: you shift. This one is quite fun to play with. Right? Let's get this color. It's somewhere in here, and it is here. Shift. Is this one? Okay, I'm gonna use another, um, foot to chair. When you use this one. Rights probably gets an interest in. Yeah, let's get this. Let's get these two guys shooting just before this whole day is awesome, Guys. Oh, Shooting. Yes, Yes. I'm trying to get you guys. Yes, stop. Is it okay? Let's Let's just just keep it up. This okay? It is about to shoot. Probably get them on their argument issues. All right, Good. So now what do we want to do with this? We're gonna bring our, um, huge shift. You've shift is quite fun. What does you shift to Actually would be quite interesting to see is applying it on the color wheel. So you know what is going on so that when you apply it on a footage on a image sequence, you know what it does. It shifts the huge Yes, but what is the impact? So I recommend you come over here and you just press tab and you get yourself a color wheel color wheel. So it gives you the color wheel. We're going to press to to connect it and we look at that's okay, Fine. Let's come over here the press tab and get a huge shift connected to this one to see what it does before actually was stopped playing without footage. You shift, we go. Now this you shift a bit. This is the color. Now I am going to use the rotation going to rotate. You got lots of formations in a But what if the fun ones is quotation? Then you start seeing these things moving around. What used to be grain is now another color. So it is what? Baiting me around. Got this into Hue. Let's have a look at this. More press and click. Want to see our footage? If I do, If I do the same thing I'm going to get what is gonna happen is not distortion it literally replacing colors based on color wheel. Right. So let's do this just a little bit. And you see that our car is now turning purple. Of course, because the car is blow and the sky is blue. The sky is turning purple as well not really too much us one pinkish. This guy's jacket is brown. It's now turning green. So what is happening is literally will shift in just like we're doing it here. Your rotation warning on it. See its click. Yeah. Yep. Yet because I'm working with the wrong one. I had to double click on it. See, this is what happens you're gonna see or your way form is getting to be crazy, because this is one of the fun ways to play with reduce. But say you want something fantasy or dreams You can play with the huge shift, some creative ways. You can actually use this for, right? So I go other perimeters in here that you can. They recruited, used the overall situation. You are acting directly on the color wheel behind the footage, right? So I am now Let me just go back to my for it is number one. If I go here, you need to make sure. I know. I know you may. You may try to practice the same. I'm doing it by opening a color wheel and then open another hue shift. But he's be remembered. I need to double click to load the writer. You shift one because this one if it's clicks in here and just click here, it doesn't. It doesn't change. Quite not user friendly from nuke. But because I've just tweaked the wrong note. Okay, you know about this now? That's, um so, overall saturation, you're de saturating. You are acting on the source of the definition of colors. You are changing the definition of colors for the image instead of getting so Yeah, You're acting on the color wheel behind the the footage you can have. You can have a lot off. Not a fun with this anyway, yet has become reddish now. Cool. You can play with this the way you want, but it's one of the fun ways you can. You can even target it using the roto, the mosque. It can target certain area certain things, certain car, certain character targets sky you can target on. Use a huge shift for that. So this is one off the lovely notes in the color correction off nuke 9. 8. Rotoscoping: Roto Node: the roto note in nuke out. Does that work? Okay, we're going to select our footage, and I'm going to Come on, click on press on tab and get Roto. Right. There are two notes. This wrote another painter. The painter gonna just cross later. For now, we're gonna talk about the photo, all right? It doesn't need to be connected, by the way. It does not need to be connected to background for you to work with it You can work with it would doubt any connection. I just say, for example, really, of this one. And we're gonna have this as number one. We can still work with it as if it's even if its eyes always like this. When you get in, you get these tools in here. So you have this. This is actually it's just selection. Select. What would you like to select now? We can't select Squires points where we haven't Haven't We don't have any thing. We didn't draw anything yet, So this ever selects and purposes for adding things. Yeah. So this is at point remove point. Actually, it would have made a little bit more sense toe have this one first on top here because that's the sequence of events Number one. You would have draw things once you draw them. Then you decide to select them on once you select them. Then he decided only to add or remove. So I think that's that's a more user friendly thing. But anyway, that's, um, what I think about the stop. But anyway, so this is first start with here. The 2nd 1 you need to draw it on generally tends to be really depended on the shape. So we're safe. For example, we want Teoh Target. What? This What? This door is there in front of us. This door damage with bullets. We are going to go with them. Busy are Kurt Costco's busy Eyman's while cost busiest or something like this, it has crossed edges, Right? So the beauty is that every time you've got you draw something you have on the right here whatever you have worked on, so I can delete it minus Okay, um, or President it. Once you select, I prefer to go with my busier right. All sorts off rectangle, ellipse, whatever you want to select a minutes. It's, um it's It's a normal roto note. It's a normal selection brought in. Think if you would find it in for the shop if I didn't aftereffects wanted in all sorts of applications. It's the same thing. So let's now target. Just remember this one and let's target this door. We're gonna do it with the busier Is you capacity one fine year? Yeah, that's fine. That's OK. We can just start drawing here. Well, as you can guess, I'm not going to spend too much time doing that, cause it's not what you want me to be doing, what you want to show you, what else you can do. That's not really great. That's actually good opportunity to our on another point, because I'd like to Probably another point here. Good. All right, Let's go at another point at point at that point in here because it's a busy. So we get it as a busy you can at any time change any one of these points. Let me zoom in. You could change any one of these points to something else. Say, for example, this one needs to be, um, shopping messages, right? Click and say, Chris, this mute. So this is now on them or smooth. Okay. Just right. Click on it. Good. Okay. This part is quite simple. Yeah. So it's not something we want to spend too much time explaining. You can select your stuff. But what? The options that you have actually a squad are quite cool. Where did we start drawing? We started here. Okay. In case in case you want to open, close the calf if want to open it. You just select this bit and click anywhere. On any point is gonna open where you have started. I'm gonna click here. It has opened this bit. Yes, it has this one selected. It's a bit misleading, but it has opened this one. Now, if I click a year again, it's gonna close this one. Anywhere you you are. It looks at the shape as one shape. It doesn't matter where you click, but if you prefer to have it open, Actually, you could have worked like just having I just delete this one. A better example would be to go on draw the busiest, starting from a Yeah, something like this. That's gonna be fast. And we say Okay, fine. I'm OK with that. I'm gonna close it and then say no, actually, no walk. Let's move this a bit down here and we don't bother with it closed. So let's your selections. It's in here. Open, close. I'm just gonna click anywhere. Is gonna open my door from beneath layer. Okay, so you get the point. Eso the 1st 1 is for selection. Andi selection. Walt, would you like to select foreign spines? Feather points? It is a nice time now to talk about the feather points because we have already already have are So let me close the shape because I prefer to have my ships closed. Right? So close the shape No clicked again. Sorry. Um list. Um, Selig's all now. Okay. Nice. Okay. How do we get the feather? Because we have in the options for this. Have you noticed it's not even connected you could work with. It's completely not connected. And then when you need, you can connect it to whatever you want. You can connect it to the background and then add some mosque aware. This has been we have the feather here, but the feather is zero. So how about we increase it? Well, what? We can't see anything Why? Because you need to create the further manually by dragon those points slightly where you want them to be. Okay, so let me bring it back to zero here, or you could No, don't do that if you are. If you right click and say set nerves to default is going to remove this busy drawing as well. It brings it back to default Programming factory CD situates state where you just got it new. It's like this This note is gonna be reset back to where it came from to find to the foundry. Yeah, So you're gonna lose your You're drawing it. Um, so yeah, this is Ah, right. So we're talking about feather. Now, if you want to feather somewhere, let me just make this one a smooth tonight's That's this human want to catch a little bit more. So what you need to do Every time you select, you see that handle, right? Okay, Now you don't need to do anything, then actually, press control, express control and move it off. Now you get that feather area. All right? So yeah, Where's the feather? I can't see anything. Well, you cannot see anything because we are not way. Don't have viewer. I mean, it's not viewing. This rotter is like, just floating around. Let's have it as number to for example. Let's get the I don't fall. Okay? I'm just calling back. Let's h OK, I'm gonna set this. All right, So this is our feather over here on. You can see that you can increase, not increase. You could just make a bigger or smaller, right? So this value here off the feather, if you increase it, get more of it. Even beyond the boundaries or less of it, right? That's divided. How much, fellow? Not just the boundaries. Okay. And then he could play with capacity and fall outs. The fallout is like slowly fading there. It's a transition. Yeah, it's making the transition smoother off the feather. Right. Okay, So that most Warner Yes. Yeah, it's now go back so far. Viewer one on. We're going to press h on because we can't see anything. Why? Because we are still in their offer on that video. That footage does not have any other family go back to RGB. And here we see our stuff. Our soldiers on our door. Good. Okay, so This is about the feather. What else would we need to talk about? Um, you can remove the feather. You can move the feather because you can select it. We're going to do now is go on, select feather points. I'm going to come over here and then when you select now, what happened is that you have selected the feather point when I'm going to move. The drawing is not going to live, but the feather point is going to move C Let me go back to my number. Oh, to interviewer. Let's go get the alpha on. Let's press age. Okay. It's Lippett off here. It is a little bit off that meat. Just move it a bit. Actually, this is a two K. The problem lies in the fact that yes. Okay. Why do we have this problem? We have this problem because this is two K, whereas this footage is four K. But why is this two k who defined this for us? This is two k Super 35. This is the default that you get with nuke. When you open you for the first time, you get it for where do we get that you grow here and then just like, have your mouse on the young No graph, and then you press s. Then it gives you the settings. And here you find full science format. And this is the format of you. This is the default that comes with nuke. If you don't change it, that's what you have. We don't want this. We have four k d c. P. So now I've changed it to four k d. C. I'm able to see my stuff in the right place right now. I can see that I am able to move those, um, there's bones that they have lived actually used to be here. Now they have Let me just move them again for you. I can't see it again because I'm they also Sorry. Select the roto and come over here selected. Busy on Cool that. And, uh, where's this election? Was this selection, Mr. Selection One select feather points on their ago. You could move them up. We're just exaggerating things so that you see how much control you have once you go back in here found you move it back to the alpha. Okay, the feather points. Hey, Go OK, so this is how much control you have. You're able to select either displays themselves, moved the points points. Meaning the points off. What you have, what you have your drumming is what you have put in there. These are the original ones. You're not going to move your feather points if you select these. Let's say selects. Okay? Going to select all of this and move it around. You don't move. The feather one's you just move the points that you have initially in your drawing. All right, Now we're going back to our footage here, and we go to our RTB press hate to friend. The whole thing without Borders on, I am going to Okay, here is you have the same thing. It's whether you want to click on a point, actually, because I have it all. By the way, I have this one removed. Okay? It is on. Remove point steak and add point or remove point and you can come over. And then when you click on it, it gets removed. I have just clicked on control breast controls that toe I said I've undone to operations on . Do what? You can also do is what you have here. You can right click on it and say cause so it makes it shop in here. Uh, ST thinking Here, you could make smooth or you need to select first, then press, and then you get it smooth. I won't say, for example, this one to be shocks and get select cusp points unbanned. You press on this one and becomes cost point. Okay, so this is your roto note. 10. 9. Make people disappear or duplicate them with RotoPaint Node: roto pains in nuke. Let me first import with a reed node. I footage and I'm going actually to import two instances off it. I don't tell you why. Because for the road off painters, something cool. We're gonna do All right, So let's go to frame 884 which is the last frame. Okay, So because this one, if we double click, Really, it's 84 I, um, go in. Okay. I'm gonna keep this one for later. Well, I'm gonna keep this offer later for now. I could go to this frame, for example. Yeah, let me connect this as number one and let's go over here. Right. Okay. Using F again, we frame it. Using hate each week removed the EU borders open down, actually could bring this one further down if you want. Like this because we're gonna be using a lot. We're just gonna be using one note. And that's not a paint rectal paint. Click on that. You can. Actually what could have done is okay. I don't need to do that, But you can use the auto pain disconnected from any footage and then connected when you want to show the result Yeah, you could work without the moment you get it in there. You get this stuff in here. All this goodness. All right. I need to get Gartmore things in your right so I You can work with it disconnected, but I will work with it connected, Okay? Because I would like to have the result reflected immediately. And I want to show you what it looks like. Okay, so what a pain It is connected now so that when we do something, we can see it immediately. Interviewer. Good. Actually, even when not connected the background, you can see it because you're working directly in here. All right, so other paint, what is different compared to roto? Note. You have the same things, by the way. So you come over here got busy equipped with all the selection tools in here. What you have additional. So it's it's it has everything explores. You've got this love list off over here. Brush razor. Um, the some fun things here, cologne and reveal. And there's even more fun here. Blur, sharpen, smear and some truly fun stuff. Dodge and burn. But let's start from the beginning. Beginning as in here, I'm gonna focus on these three because this is stuff before the worked with in the photo node. Now we're gonna go to the brush. So what is this brush is basically it's a selections. It's a brush in here. Like you collect a negative brush. I'm gonna put it on. What you see, there's a small circle you can adjust that just the way you have it in Photoshopped. Capacity, size hardness. I'm gonna have a 500 on this one. Just so you see does not know it's big, It's really big. I'm exaggerating so that you're able to see what we're doing, right? I'm gonna do some crazy things. Just so you see that what you can do it It right? What is the hardness? And then there's the size and capacity. All right, so what do we do with that? We paint OK, so he complains something, and then you immediately have, By the way, by the way, something important is that when you work, it defaults to single frame. So basically, everything you're doing now is single. Does it mean that you need to redo the work again to go back to the hole duration of them off the movie or those sequences? No, it's just you come over here, brush one, because I've done it twice. The moment you released the brush, it's one brush. It's one line here. So you've got it. Here in there are the root. Have a brush. One. You come to life, darling, on you. Change it to all frames on this way, it just becomes or frames instead of one. But every time you select, you get it, by the way, if you want. Okay. This one, I think it's too late to to run them. Let me Let me just pain something Bain talking back. And I could Yeah, let me just paint Kingdom for let's say we're gonna do something about these Sold is okay. Um, it's Ah, yeah, it's bigger. No, well, just exhilarating to tell you just to show things in the recording. Otherwise, if I make something to tiny, you may not be able to be able to see. So that is all. Even if I say all Actually, it doesn't change much for this one because it's still single frame. It stays all for the next one, so I need to go back here and say or frame. All right, So if I moved here for here or here, it's the same thing. Okay? It stays. All right. So this is for the paint brush when you paint with it, and then you can change the color off the what? We're used. Okay, because this one was first. I'm gonna just delete it. So you see the other ones you can change the color. Read, for example, we could change on this one to say what a blue just for visibility. Right? Could lock it if you want. Well, look. All right, so this is for the paint, and then we have a razor you can raise. Well, this has been away because it goes back to allow goes back to 25 on, so OK, so this is the paintbrush. Now, let's move to the next one. This clone thinking is where you want to clone something that's obvious. How does it work? Let's go back here and I'm gonna click on cologne. It goes back to default. Let's go to a lot. I'm gonna go with I'm gonna clone this guy. I'm going to clone this guy and what I'd like to do is, I don't know, something like 254 but is that enough for him? Could be. Yeah. Could be. All right. Well, there are shadows, but we got a problem it up. It's It's I'm just showing you what you can do with it, right? So how do you do that? You just, um, click control on the drug where you want and then release on. Then you can start painting, which basically means dip Lick ating clone in the guy. Right. That's a noise one for, um, some applications I'm in. Depends on what you want to do, you know, going to duplicate the person itself. But, I mean, you can if this is what you are, what you're after. But you could duplicate sign you could duplicate a car and could implicate all sorts of things. That is, let me see. Were acting here with all so basically if I come over here. Yes, I'm just moving back in the timeline. It is a moment of someone. Roids. Yes, it's working. It's working. So this kid is looking here now and then it's gonna be looking somewhere else, so yeah, I'm not moving too much in the frames because they are going to start running at some point in time. What does it say? The word they run away. Uh, but you get the point, right? You're able to cologne something. This is a clone brush on this, How it works. You select you point and then you click London press control on the new drag to where you want it, and then you start him, right? So this is the This is the clone brush. The other one. The other fun part is going to be the reveal. Reveal. Now, what we have actually done now is we have cloned this guy. How about removing him completely from the from the? From there on, we are going to do that by using the reveal. So I'm gonna come here to this footage on its size frame range 884 zero. I know that frame 884 is empty. That's like the the young anti plate, right? There's nothing in there. It's the exact same train. The camera has not moved, and it's I'm freezing on the young on the last frame. So basically, I'm only important One frame I'm going to use it as a background. What I'm gonna do? Yes, you guessed it. Reveal I'm gonna raise this quite not really raise him. Looking to brought a scope, the going and then trip as literally just revealing the plate from behind. What? I'm going to paint, right? How going are we going to do that? Number one is Go back to our A little paint and remove the cologne. Remove all of this. That may see why is it not removing it? Because I pressed. Didn't present delete personal on the button. Okay, we could do this way. Just click on minus minus until it goes away. This one is Look, by the way. Ah, this one is no See because remember, locked this one so you can't remove it. Need to unlock it fast and then you remove Good. So let's do that. You see? Let me now. Oh, by the way, I may have already said that or not, but it's in terms off interface If you want to expand one of those three competence of you Port no, de graaff All the properties you just click undone. Press space ball. Nice space bar. Then you get these what I'm going to do? Something quite simple. The background this Rodal paint except small backgrounds than one. So this is why you have also the option when you can move a background one. Now, for us, this is gonna be the background off this. Let me go backward. Space ball undone. We're just going to press f two frame. All of this in the node graph aren't gonna start to fund off removing this guy. How do we do that? By revealing your going to ravine something behind him I'm going to reveal. And then I get here away frames and I get my lovely 500 is if I have understood go with 250 markets, defend 250 sighs And so what? I have these. I'm gonna show you directly this one by Yeah, I click here and I say I press on to This is the clean plate, right? So let me come over here. Breast warning to every time. 1212 You get the point. So the camera has not really moved. Much could see there's tiny movement there like a few pixels. But for the purposes of heart off our practice is not really a big deal, because I would like to use this background. So let me do that on I'm just removed. This too revealing. It's quite simple. You just pains over the guy to reveal the plate behind them. And because we have it on all frames in a lfa frames, he's not gonna be there. Well, got a little problem with his shadow. We're gonna take away that one as well. Probably with less. No, don't big something like this. What? You get the point? I'm not gonna do something perfect here. What? I am going to may his shadow. All right, this is them. If I move my care well here cause the guys quite static, these are static. That was part of the for they needed to do. I didn't have I'm moving through the frames. Now, when you see that the guy is gone completely because I am revealing the plate behind him. This is one of the beauties of the EU's off reveal reveal. You could use it for any other purposes. Actually, you could color grade, say, for example, this child differently. Andi in a different footage in the background footage and reveal just that part. Just his boat so that he looks different. But do you think What? What would you do that? What? You just target him with a mosque. So, yeah, you have options, but you're only limited by your creativity. This is then our lovely revealed. So what do we need to do? Sorry. What other things do we have here with other goodness? Do we have it? We have the blur. Well, it does what it say's that's a bit annoying when it goes every time to the default old 20. Eso blur. I'm gonna blur this guy. Why am I always working on this guy? I don't know, because it's the one in front of me. Um Okay, so this is blurry. And then you can change the had the settings to your liking, the hardness and everything. The effect loved to see effect is 50 for example. Yes, in Washington. To what if I'm just playing around it. Right. So to show you what you can do it. That's the blur. And then you have the sharpened, which is the opposite, of course. So that's gonna be go with 500 won a shop in this guy. He looks way more different than the others. No. Can you see that? See, it was short, but this guy's well come short on this guy. Probably shopping my golf here. Already missed him up with the bureau. Too much. Can't shopping that much. OK, good. Let's go back. Just best from the space bar to to move to increase the size of the young reporter. Okay, now we're going to move to the next. I'm just delete all this still for their next one is smear. Now, Scott on artistic touch. You use it whenever you think you whenever there's a need for it. Well, it's maze. It does what it say's It's like it's maze. Right? So this is this is what smear does. No, I'm just doing this guy again anyway. So this is your smear brush found? Let me see. The next one is gonna be We've done this the last Dodge. Okay, these are a little bit opposite. Dodge is going to give you, um a very broad. Okay, let me just show you sort of just explain, like, what's so let's go 500 this time. Andi, you don't need to have always a capacity of four Lincoln go. Especially in this case, it probably gonna go with 0.1 or 0.5 and it gives you a a light. You making it lighter. Let me give you the exaggerated one first to see what it looks like. This is what it looks like. That's a video on Done. Now let's go back to O my steel. Yeah, I'm still capacity 10.5 aunt. Probably you want to. I'm never gonna do that. This is not for color correction purposes. I mean, for stuff like this, you just doggett something because if you're going to cooperate, you need to track it. Andi, I'm just showing you what kind of color it gives, right. And then when it comes to delete my paintings, the last one is quite interesting. Burn burn at the full value. Could look a bit weird if you do like, this is gonna look weird. But if you play with it are very low values that can give you something interesting. 11. 10. [Bonus] Key a blue or green screen: green screen keying in New York studio. OK, on the left. Here we have the tools on. We have the Keir tub. We have a few Keir options prime at key ites Ultimate. You've got also the I B K gizmo on I b k color the dio that works with the image based skin . Ok, now, which choice are we? Go now Because I want to get nuclear a little bit closer to the users off after effects. I'm going to use key light. Okay, but hold on a moment. Generally, when we make way have green screen Keen. We use several tiers and we ask each one of them to take care off a particular aspect off the image. Right on. This is exactly what we're going to do. But we're going to do it too wise, would key light. So we're going to combine to tears both of them key lights. One of them is gonna take care off. One aspect on the other one is gonna take care of the other aspect with generally. What kind of aspects do we care about when we want to split? There are different things you want to worry about in terms of split in your image. But generally, you tend to care more about the split core edge. Okay, so the core matt on the edges require different approaches, so you cannot do it with the same care. All right? If you can, you can try. You're gonna end up with something you don't want to see, right? Because it's a compromise. You're hurting the the matter the core, Matt. And you're hurting the edges. That's the final result. So why don't you just get you yourself to tears, even if this the same. And that's why we're going. What we're gonna do is I'm just bring them now. He likes him. That's number one on the brink. Key Light number two. Right. Okay, I just increase this a little bit on. We get key like number one. Killer number two. This one number one is going to take off the core. Matt, the core Matt is important because we should not have any transparency in there. What does that mean there, bro? Shefki, lighten. One is going to take it is going by drastic. It is not going to care about the edges. Actually, it's going even to remove the edges because we don't. We should not worry about the edges when we're working on the korma key Light number two has another task. It's only the edges. Only the edges, nothing else. Even if key light number two seized transparency in the core Matt, it doesn't care because it focuses exclusively on the edges. So this one is exclusively core. Matt exclusively edges where you add them together. You get what you get. A beautiful Matt with the edges under core together. Okay, let's do that. But the approach is an advice is gonna be different, actually contradictory. So the approach working right Number one is contradictory with the approach in here. So whatever advise you here for this one? I should note circumstance whatsoever. Be applied to number two on whatever advice you here for key light number two should in no circumstances whatsoever, be applied to key light number one. We are talking about two extremes. All right, so let's start with the light number one. I'm going to do something drastic here. Let's just connect the source and then press one to get the key like, Okay, where does key light between brackets, please? when you're working with two years off the same family have a key like number one and number two. The last one you add is the last one is the one that has the properties open. Now, you see that I have this one selected in here, and I was about to start weekend. But then hold on a moment. This is Kilo it. Number one on these hair. Say skill at number two. So I want you to get in the habit off. Close in completely the properties. Andi. Reopening. Yes, it looks like an additional step. But this way, safer than two week in all the stuff and then realize that you've just seen working on the role here. Okay, Because the node graph the properties under viewer our independence from each other. When you select something here, it doesn't update here, and it doesn't date here. Okay, so it gives you flexibility, but at the same time, you need to be careful with that. I close there, the brackets, and then I go back to my drastic approach for key lights. I'm going to start with something that generally is advised not to do well. Let's first key. Select the selective color. Okay, you click on this color picker hand, you do what you come Press control and click. Now you can keep clicking but while do now is just release I don't want you to get in the habit of just yeah descript click somewhere. That's not how we do it. We don't click somewhere just like that. We need to do it. We need to click No, in what we need. So because key and works with Al far let me switched off. How did I do that? It just best eight on the keyboard. Or you can come here on select Select the Alfa McCain set off rgb you just said OK, good. All right. What do we have it all? Sorry, this one since out of the RGB. Doubtful. Okay, What do we have now? So this is the selection that we have made? No, I did not make this selection. Actually, I just wanted to activate the Alfa. Right. What happened? But it's really good to see. Let me just increase this once that we see I know it's not high resolution Thing is just a thumbnail, but it helps to understand you see that I have chosen. Okay. Clearly, the footage is not that have chosen is a very big bad quality. It's a stock footage. This has five mistakes. Five phenomenon mistakes. This footage has been five alone mistakes. You know what? Let's talk about them quickly. And then we come back here and Mary said, this skier here and go back to the RGB very quickly. Phenomena mistakes in this one. That's a stock footage, just not our project. So I'm just chosen. I've just chosen this one to show you how hard it is when you make such mistakes. Number one um, it's not even in it. Right number to the actors are too close to the green screen. You should have a few meters away from the green screen to avoid watch of despair. But also the would they the shadows. So what is this you got? Shadows are endless. You. Your intention is to replace the greasy screen screen with a three d wall or something, and then you want to have the shadows. That's a different story, But still, when you are using a Keir that is different than I d. K on, you don't ask for it and you don't have And you don't have your own clean plate. Then you lose in the shadows anyway. Okay. Number three The we talked about the 1st 1 the lighting. But now the lighting for the actress is poor because they're using the same lighting for the green screen. As for the actors, if they don't have separate lighting because they are so close to the green screen, right, so normally should be far enough. And then the green screen is lit separately. The licensee use for green screen are not the ones that you're going to use for the for the young, for the for your access, you could even have different temperatures on the lights that you go. Where'd cooler for the green screen and warmer for the actors. But you're gonna have you need to have different lighting. So this is number three. Number four is what was there before the before is the compression. This footage is off. Rubbish quality. It is H 264 The effects green screen key and the biggest enemy of the effects and rescreen keen is compression. So when you're shooting, please these are role or Florence. High quality stuff. Don't go. Any word of 42 thin bits. Don't go anywhere than 42 to 10 bits. Okay? And there's another 50 mistake. I don't Yeah, the fifth mistake. Don't know Tracking markers. There are no truck in Marcus, but okay, we have close not the the square bracket for the the records for the five mistakes. But the idea is that I'm showing you and demonstrating a technique robots technique for rubbish quality video. But this is not an excuse that during your field, then you're gonna come with rubbish quality. Okay? You're inhuman. You are going to make sure that you have something off great quality because compression is losing caller information. Anteon is all about color. Okay, right. Let's come back here and do again. Our lovely color picker Control selector, Time control under select. Okay, you press control a new crescent color picker and then pressing here when I select a light . Um, I'm just press it again. This is OK, because it's not even real. It on. That's poorly. It actually not just evenly. It's delight. There's only one light here. We can see that this bright here and it's less bright. Here's let's right here that there are no lights on the right. No lights on the left, Its exact typical mistake you don't want to make. But it helps us understand a few things when we work on footage is full of mistakes. He helped us understand. If you thinks what did I select off selected the light green when I select a light green it select What? The light's green. Okay, that sounds like it's logical, But hold on a moment. Let me go back. I let me try something else. This is dark, right? Okay. Let me come back and select the stock one, uh, just control. I don't select this one one more time. Okay, let me select. This impressed me, right? We're just happened when I select a dark green it dense to include with it delight greens they so light green or saturated does not include dark and saturated but dark. Unsaturated, once elected does include light on saturated But of course. And when we selected here we have just selected one flavor off the green. We still have some noise. Okay, so let's go back now and say which one should we choose. So what we have we have here, Um, just moments. What, mark time. Okay, So what I'm going to do is come to darkest to the darkest green I have. I think it's somewhere. All right, when I do that, I have selected most off the most of the off the greens. But I still have some noise in there, right? Still, Absolutely. So I'm going to go to the advice number one, which is opposite all advice you've heard so far. Generally, my advice not to go too far with the screen game. Okay, screen gain is going to clean this black, but actually, you should do that. With what? With the clip Black. Well, I'm going to do is do exactly the opposite is ongoing. And exaggerate this one. Let's go away. Don't six increasing here. Increase the screen, gain to the point where it becomes crazy. Okay, so I got here, like one points 17 which is enormous. You should never go anywhere more than 1.3 1.5 to the maximum. Um, so but in this case, it's different approach. What did you say? Key light number one does not care about the edges. And what happens when you increased screen game? It gives you clean black, which, actually, you should have worked on using the clip black. But it gives you strictly clean black by hurts your edges a lot. The light number one, by coincidence happens and not to care about those ages. Okay, so we moved down here to the next our meter that we're going to tweak on. This is what this is the clip white Because we need to have this solid. Now. What is the mission? The reason off existence. What's the task Off key light. One is to make sure that this is solid. So, um, this is cool. Completely unacceptable. Having here his shirt with light greys are transparent. This is absolutely the mission of Kalak newborns to give us a solid white Not care about ages, yes, but solid white. So we're going to go to clip White this clip black, which cleans the blacks on clip point, which cleans the white stuff. What does it really do in the background? Because I need you to understand mathematically what happens? Not really, that I'm asking you to understand the mathematics behind it. But what are you really doing when you're pushing these sliders? What are you really doing? Now you notice this. There's a number here, black, and there's zero that wasn't theirs. One. Why? Because black zero and white is one. What does that mean? This pixel over If I just stand somewhere, this pixel is zero, right? If I go here, this is These are whites. This is white. Okay, so these are zeros and these are whites. If I then start going down from one, this is one. The spaces are one. Okay. Such sort of zero and one one means if I bring this one a little down, what am I actually do in? I'm asking Newkirk to go down to the pixels that have a value off Seo collect Mr Stop at 0.8 value off 0.8. What is your point? Eight? It's light. Gray is the greatest closer to the white. It's the greatest closer to the one. I'm asking you to go down from the one and go searching for those light grays that are closer on and convert them into one. So anything between 10 a to bring it down down, down, down, down Until until I don't care. I just needed to be a white. It doesn't mean I'm going to exaggerate. But all I need is a white that sense. Now we have gone way far, but not way too far. We need it. We're gonna keep it. Fine. We're going to find Can you see here this rubbish stuff over here working? This needs to be cleaned. But I'm not saying cleaning as in the edges on same cleaners in the board. The the background. Now this part of the edge I don't care about but I do care about this one which is floating in the background, cause this is gonna cause a problem. This is not edge because it's disconnected from the edge. This is edge. I don't care about it. OK, so we're going to need to clean that. Come away. Can you see this? This is a problem. This is a problem. That's what was said when we increased Greece screen game. Maybe it was not enough, but it's a good, good opportunity to use another bottle. Me tell it is clear Black on. We're going to do it right now. Okay, let's first make sure that our point is working properly. What? All these things I press on A These are reflective objects. Andi. Yes, even if you are far from what this one is even worse Very close to the green screen. But even if you're far from the green screen, reflective or breaks do reflect even if it's far. So if you have shiny shoes, if the actor has shined issues, it is going attractive. And if you're four meters away, it is going to reflect. Okay, So what is this stuff? This happens to be in the edges, so I do care. But not so much because it's in the edges. I can help a little bit like this before the rest. That said, anything closer to the edge is we have gone way for. But then I generally do not care because Collide number one OK, delight number one doesn't care because the edges are so know what I've done is really Can you look at these edges? They look horrible. Well, guess what? We just don't care, right? Because we care about the korma. This looks solid. This is good. No, this is no women. When I increased the white. I have started converting this well with this word. Is this one come from? Where did it come from? Because we thought we clean the black. There's a trick, actually, to see if you've really clean the black or not. You're going to activate this. Why? Which is toggle a gamma. And then when you start increasing it, you be able to see that. Actually, you have No. Okay, This this we should have done actually, even early after that. But now this is a what's left because of Kim, all the other grays. Um, this is one way, which is like, just to increase the gunman to be able to see what you have. You know what? Let's just just do it. Is doing what? I'm gonna reset all of this stuff because I need you to be able to work with this one. I just go back to normal. Grandma limits a selector. I'm going to select the same thing as quickly. No, go armed, select. Write something like this on. We go back to the offer. When we said we have increased the game, the screen get until it has become crazy and we said OK. Yeah, probably. It's came. Wait, Hold on a moment. Is it really green? This is why I said probably It's good to have a look at the Y in here when you start increasing it, you could end up with some Nazi things in your but it in this case 1.21. The last time I've stopped at 17. But now it's like I've cleaned it all. Okay, This is what you may end up, not see. And if you don't? Okay, let me just show you the example. 1 to 11. Something like this gives you the impression. Okay, this one 1.17 gives you the impression it's gone. But when I click on why and I increased the Gover, I can see that system stuff there. So this is a trick if you want to see if it's cleaned or not. Okay, so let's go back now and we're going to um Yeah, it's a good opportunity to work on the clip, blacks. But now let's bring in the whites again. Where were they were? Where they here. Okay, Then we increase the black. But what does that mean? Black. Same story same story. What do I have here? This is this. Pixels are here. Black, which is zero. I have light grays. I started darker grazing here, but these are not zero. I'm going to increase this a little. Which basically means I'm asking you to go to pixels that has your upon 06 has a value on convert Dementor zero make them black. Okay, so I have no taking care off this. Let me just go back to my wife's and make sure they're really, really, really white. Cool. Okay. Those edges, all inches. We don't worry about now. I really have very, very nasty edges. But that is not a problem. Okay, this is done now. Anything. Well, hold on a moment. You can't do this. Of course I can, because this is key light one. It has worked on the Alpha on the core, Matt. It has given us corps. Matt. That's it. The game is over. It needs now to give this information to key light number two to work on the edges now delights. Remember, it is gonna work on the edges independently, taking it from the source. But the offer, it will take it later. Okay, but before we proceed any further, there something else that needs to be done. OK, When he comes to given this Alfa, this is not This is not clean this. Yes, it has given us clean, clear core, Matt. But we're not going to give the rubbish edges to kill. At number two, we need to remove the edges. So step number one is get yourself a solid core, Matt Step number two because it's not kill its business, the edges, and it has ruined. Um, it needs to remove them. What does remove hedges mean? Okay, we come here down and there's something cold screen dilate. Okay? Screened. I laters, basically is dilate and erode, which is like macho career. If you're familiar enough, their effects my choker di late is inflate Theo opposite of dial. It is a road which basically means if I go down, that is a road and that's not violating. So let me show you. If I bring it down, I'm just eroding the mouth. I shouldn't be doing this. This is not taken off ages. Visiting a lot of your coma. Let me go back to zero and then we're going just to remove the nasty parts. Okay. Nasty cardamom. Got some floating pixels here. Designer like this. That's a big Sussman's. I need to go a little bit higher with my screen, Guynn. Good. Well, it's like this 1.21. Yeah, it was the magic number. Cool. I see these edges. We don't want them. What I'm going to do is erode. Don't go off Ward, please. With a road in? Yes, we need to remove the edges. But sometimes you hear people saying minus stand minus 30. That is, that is not gonna help you. That is not gonna help. You need just to relive those nasty edges. What's an edge? It is. Energy can't be 30% and edges, not 30%. So you don't want to go any higher than minus tree. So any lower which basically don't push further to the left Any lower than mine street. Let me see. Minus two. We may have some will see things. And especially this was making ministry make us minus um minus 2.5. OK, nice. What have I done? I have removed. Okay. Monastery. I have removed the edges. I have core Matt. It looks ugly in the edges because that's not what we care about. We just care about the korma. The edge is something that the other one is gonna have to work on. Cool. This is done. Step number two under step number three, Which is? It needs now to give that information to key light number two. How does it do that? Simple. Have you noticed? Remember, there are few advice spaces that you hear about key light on you. One of them is she should never work with the final result. We didn't even care about this when we were working. Did wait. We didn't care. We didn't care about it. Just wouldn't give up. The final result. Didn't care about the screen game would just increase it. Like how we did whatever we wanted. Because the approach is quite simple. Give me a core matter, period. Allow advice you've heard so far Does not apply. Giving the core math and that's it. But when it comes to lose in the off dd matt to another Keir Yes? You need to change from Final two intermediate Onley because you need to pass it over. All right? Yes. When you work on the key light number. So you're gonna work on intermediate, actually gonna work on different ones as well. But for the 1st 1 we didn't care. We don't care. We do now. We finished work. We need to pass that information. We need to select intermediate results. Okay, Not because no for key Light one, but to pass the information to kill that. Never. Okay, now that we have finished this part, let's come back and select what's elect source and connected. What happens? Actually, when we do this, when you gonna give you intermediate results and we connect this source to the key light here, let me just come over here and rest one and go back to all That's That's really nice. This white is really nice. Exactly what I wanted to explain. Okay. What happened when we connected the source? Did we not pass the information of the offer? What? We've just spent quite some time working on our Matt on. Do we have an Alfa? We have removed? Yes, without the edges. But we have a known for What is it gone? It is in a waiting room. You can look at it that way you can think of it that way. It's in the waiting room. Why is it in a waiting room? Because key light number two has never a knowledge received off any Matt for a simple reason that you don't only change the parameters in Keene. Lighten of the one you need to change the promises and kill a number two as well. So that get it? It's not just about giving. It's giving and receiving the given parameters. We've tweaked in kill at number one. But the receiving para meters have not been said in Collide number two. So what happens? It's somewhere in between. It is in the waiting room. It is. They're available for use as long as we change the parameters. And key Light number two. OK, so it isn't waiting room. We don't care now about this one. Kid. We got from key light number one. Leave it in the waiting room. Gonna work on that later. We come back here, press a and we are going to do the work as if we started from scratch. Because we need to start from scratch. Why? We're gonna work on the edges and only on the edges. All right, so now I'm going to close. Get in the habit of closing, cause otherwise gonna start to weaken your key light number one and ruining it. Close. DoubleClick. And now we're going to start working again. As if we've never worked on key light. Number one Control. Sorry. Keep control. Breast Onda. Uh, we're going to select what? Not the dark greens, but now somewhere softer somewhere. Like a little bit here. Okay, let me go today. This is a good start. White, when you select the dark greens were said that you heard the edges. The cleaner. You're black, The more you hurt your edges. That's a rule. So we don't want to start from the beginning by hurt in the edges. Because key light never to only cares about the edges. This is why we need to go a little bit softer. Go for Unterman. Idiot value. Where you think I have a lot of noise? That's a good news. You started. You see, you got a lot of noise in the black. But that's the good news. Tell you what, I'm going to make it even worse. But I'm going to make this war going toe work on the engine. See, I'm going to make it black going to make it black. But I'm going to do it in such a way that is so gentle. There's a gentle way. And as the key light one drastic way, let me show you the gentle because the generally works only for the edges. And it's not gonna help you for the corps, Matt. You're going to see we are goingto have lost the transparency, but we don't care. Okay, so let's work on this. Edges. There is a lovely perimeter. A wonderful that is your friend. That's the magic. That's your key. That's your secret weapon When it comes to edges, when you go this route, when you go this route, there's one that's called clip roll back. This is your friend. So what is it? What does it do? Let me explain. Once we start working on the stuff scream game. Okay. What do we do? We don't touch it. Okay? We don't touch it for fun. We're gonna go with 0.3 like the maximum. Just tell you, OK? You can do it. But you know what? Don't go any higher than three or five maximum. Like if even if you have nasty background. Um, I would even recommend you stay with one. Okay. About for fun. I'm just doing 10 for three. That let's move now to flip black. Now, we're not gonna do screen balance. You know what? Scream balances. You're actually changing the color that you have chosen, but we don't want to change the car with chosen. We have deliberately chosen a color, a particular green. That gives us a lot of noise, but at the same time keeps our edges. See how lovely the edges look. What? I know they're surrounded by noise, but they look lovely. You don't have those. There's okay when you get closer to see some big sales. But that's because it's a compressed footage. Right? I've given you this. This technique with a compressed footage was very backward. Is that you? See that it works again. Again. Not an excuse to work with bathroom. Right? So we're not gonna touch screen balance in any instant. Any circumstance whatsoever for key, Like the mature Well, clear Black. Yeah, we have to do that. The black is the ultimate unclip. Quite clear. Black under ultimate para meters when it comes to clear in your mouth. But now I'm gonna do it in such a way that I go a little bit like this. Go up, Go up. Yes, my hurt in my edges. Yes, I am hurting my edges. Beholder moments. That magic trick is still coming. It's no magic. It's mathematics, actually. So increase increase, increase, increase, increase, increase Until they lost pixel. And not more than that, the last pixel is gone Going okay, All right. What have I just done? Well, it's a little bit like what we've done for kill at number one. Yes, we've taken a different route, but would just underdog with something similar? Not exactly. When you work with clip black and even if you go that far, you have the option to roll back. What does roll back actually really do? While it's may feel like canceling what you've done and go in backwards Yeah, like making a u turn. It's making a U turn in a different way in a beautiful let me exaggerate clip roll back to show you the beauty of the work I'm gonna push it way hot. Can you see we are? Yes, Rolling back. It's like canceling returning on the work we have done in clear black. But where did we start? We don't start just anywhere. We start from the edges. What's the beauty of this trick? Is that okay? Now we need to bring it back to two. Ah, reasonable. Is that you can go back on leaf. Fold the edges on this way. That's it. 0.8. Sounds like enough for me. Okay, so this is how we preserve the edges. Basically, we're going to roll back. We've done. Wait. I've got to transparency here on the shirt. This looks nasty. It does look nasty, but guess what key, Like number two does not care because it's not his work. His work is only from the edges. Have you worked on the edges yesterday? Look gorgeous. Absolutely. What gorgeous means? Just up. What happened? Turned them basically. All right, So this old what is this? Well, this is part off the roll back. What have we done? We have used up to 0.8. Book qualifies. Not gonna help us enough to see what we're doing. So we're going to go a little bit down 0.7. We could end up with 0.45 for seven, 35 even. But the idea is that we all go into at what we could do. But we could absolutely do is, um, die late, erode. We could I'm resisting resisting the temptation to go way down on the roll back. But you could You could do that. But I really prefer not to. So I will do instead. Is staying on my 37 or four Onda erode instead. What have I don't What am I? Don? I've gone beyond the borders off the edge is now I've got more than the edges. That's what's going on when you work on all sorts like press a somewhere. Yeah, When you look at this, it looks great. We've just gone far beyond the edge. We've worked so good. So we're on the edge is that we have added more engines to the edges. That's not good. So what I'll do is yes. I want to roll back to the maximum I can, but the same time not, um heard the edges. I'll just do it manually with screen erode. Woodmont DiNozzo is gonna be like this one. That is way too much. Minus zero points. One. That's not enough. Minus 0.5 ish. Okay, I get the idea. Minus zero point eight. Probably was that one, maybe nine. Okay, let's go with the nine. Let's go with the with the one. Okay. What happened? Though? I have restored the edges and I have gone beyond my edges because I have to make sure I work on the edges properly Off. It's like I've covered them on, but I've gone even further, but to push myself a little bit back, I have used erode a rodent. Not touching the edge is just the white line. That is the nasty lines surrounding it. Well, what do we have now? Edges are clean. See the shirt here. That is really, really doctor inspire Insee. But you know what again? Yes, I know you know it by now. We don't care. Cool. Now comes the point where we are going with finished. We have finished working on the edges, right? We're finished. So the light number one has finished doing its work with step number one. Finished doing this work with school one cor Matt. Number two is removed the edges because dish tonight will be used. Number three is change View Teoh Intermediate that it goes to the key like number two now key light number two has step number one, which is work on the edges and has step number two, which is receive the other far from key light number one. Let's go and get that cool. How do we do that? Number one we need to go to here. Screen combined, Matt. So we're going to combine Demotte. That's combined, Matt. Okay, what just happened? Although the moment we have a few things that need to be tweaked because when you come down here inside mask source Alpha, they say ignore. Now I don't want to ignore its We've worked so hard and kill it so aggressively on killer number one, but we don't want to ignore it. This is why when you ignore the on farm the first key light output, what is coming out of key light? One is coming out opaque because we're ignoring their own followers. Should not do that. We should take into account off. So add inside mask when you add to the inside master, then what happens all in a moment. Let's meet Change this to compose it, right? Okay. No. When? When we work. Okay? Composite When we're going to come to To out both. Ok, we're going to however, now let me change for you. Source. BofA ignore after inside musk Ignore. Are you inside Mosque? See? What do we have? We have the core, Matt from key light. Remember that one? And we have the edges from from kill at number two. This rubbish work inside in the corps. Matt of Kill at number two does not matter anymore because we have gotten the mat from the Cormack from kill at number. This is now inviting that. Remember we put it in the waiting room. Now we have opened the door of the waiting room and say Come over here. We're using you. Okay. Now are we don't know there's another step. Step number three if you just keep it in mind. There are three step