Original subtitles

[Autogenerated] All right,

so we're gonna make a multilayered xar file out of all our different passes.

We have three passes in our plate.

We have the background plate.

We have our helicopter shadows.

We have a ambient occlusion puddle pass which darkens the

ground that we have our primary color passes,

which include our beauty pass.

Just the rotor blades, body diffuse,

indirect light reflections embody speculator.

And then we have our NCD peas,

which are non color data passes thes air for modifying the color passes.

We have our body.

For now, we have our depth of our ambient occlusion.

We have a UV pass which represents the texture mapping coordinates.

And then I have to multi map passes which allow me to use red green blue

colors as masks for selection sets on our composite.

And what we want to do is right now, all these images are discrete,

separate images in nuke,

and sometimes we want to assemble them into a single

image file form or efficient compositing.

So what we want to do is we want to start out with our plate.

So we're gonna view that and let's bring the viewer over here,

and we want to now take the copter shadows and we're gonna

shuffle these into their own distinct passes.

So we're gonna take the RGB a in and we'll send it out to a new

layer or channel set called Copter Shadow Auto.

Fill that in close and this one will be the same thing.

It will be a new layer rgb a close.

So now we've got our different passes shuffled in and now we're gonna grab

our copy node and want to set this up to do a layer copies.

We're gonna take the A of the new layer,

the B of the background plate, and we're going to see a copy layer shadow.

Until we get this connected, you'll notice that the data isn't here.

The copter ao puddle is not listed.

That won't be listed until we hit the A input so it can see that data coming in.

And now you can see it's it's copter puddle pass

and were able to copy that over.

So now we have these three parts assembled and you can

see over here RGB we have no Alfa.

There we go.

Copter, puddle, pass, copter shadow, Right.

Awesome.

So now let's go ahead and do the rest of these,

but we're gonna do to mix it up a little bit.

We're gonna do a shuffle copy on this next one,

and we would take input number two and put number one.

We're gonna bring over that beauty,

so this beauty is going to go out to something new.

So let's create a new output down here new.

We'll call this the beauty copter Select.

Okay?

And it's gonna be coming in on input one to input One's gonna be Red,

green,

blue Alfa and everything else is coming through on input to So that was in

a way to do it with within the shuffle copy as well.

It takes a little bit more planning because of the

confusing nature of the interface.

But we're gonna add some channels.

So after this, we're going to start.

We're gonna add a bunch of new channels and let's go

ahead and add the rotor beauty.

Select.

Okay, we're gonna add body diffuse.

Okay.

And so on.

Body reflection RG via and hit close.

So now we've added all of those.

So now we have those over here,

but what we need to do now is we need to bring them in and copy them in.

So that's where we're gonna create another copy nut.

We'll take that and we're gonna select it to their We're in a copy.

The red, green, blue Alfa two are where they are.

Roeder beauty green, red, green and blue and our ofa There we go.

And that should now show right there often.

So now I'm gonna go ahead and do that again for the next four items,

and I'm gonna come back when it's all finished up because it's just

a lot of rinse and repeat of these techniques.

All right?

All the passes have been put into all these different layers,

and you can kind of see, I just went ahead and put all of these different ones.

And then we used the shuffle technique with a copy set to layer.

Copy each one.

Now, at the bottom of this, you can see our list.

It's fully populated.

We have Alfa.

We have depth beauty Body spec.

Multi.

Matt, you ve a o.

Everything is represented here.

What we're going to do now is we're gonna write this out.

So let's set up a right nut.

So let's put a right note right here.

Put the viewer on top of there,

and we're going to set this to write out a full a full

xar file and render passes the e x r.

And there's a couple things that we need to be made Sure off.

Some of these render passes have floating point values,

and they need to be saved in 32 bit float set at 2 32 bit xar and

you're going to see right here it says Inter leave.

It's gonna inter leave both channels,

layers and views so all of that's gonna be into leaved in there.

However,

we do need to make sure that we take the channels appear and we

set these to all because if we just do rgb,

that's all it's gonna render.

And if we could select any of the channels that we've

created or the channel set layers we want all.

So that way all of them are saved.

So I'm gonna render, but render that one frame.

May we go?

Let's close that and let's re load.

There it is.

Render passes.

You can see all the different passes.

One, Meg seven Meg's whatever.

Now we have one file that's 116 megabytes.

This one file right here they hook up.

The viewer has all the render passes in it.

We can see that from the drop down, but drop downs kind of are annoying.

So let's take new node called a layer contact sheet,

and it's the layer contact she there to contact sheets.

There's the contact sheet in the layered context because these

air all into render layers or channel sets.

So I'm gonna select this and I'm gonna display that.

And what it's gonna do is it's going to separate every single render layer

onto this contact sheet and show them simultaneously.

Ah, great button and display.

Is this right here?

Show layer names because what that will do is it will now allow you to see all

the different names associated with your various layers.

So in the next clip, we're going to look at what I call Channel packing