Original subtitles

[Autogenerated] in this clip.

We're going to take everything that we've learned so far,

and we're going to apply it to creating the shot.

We have our single image,

multi pass xar that is channel packed for optimized work flows.

And we are now going to composite this shot together.

We're gonna put all these different elements together with inside of one shot.

Here we have our background,

and the first thing we want to do is one ad that shadow

shadows are always a form of color correction.

What we need to do is create color corrector,

and normally what I would do is I would connect the

mask input into the color corrector.

But because we're using only one image, we conduce,

um, much more efficient compositing,

actually the preferred way that the foundry likes you to work,

whereas everything is in line.

These little mask inputs were added for legacy benefit a few years ago.

They're actually not the best way to work.

Best way to work is to bring up that color, correct.

And where that shadow passes is, we're going to grab it down here under the mask.

We're gonna check that off, and we're gonna select it out of our wonderful list.

And where's our list gonna be?

It's gonna be the RGB Alfa.

I'm gonna move this over here and I'm gonna bring down that gain.

And look, there's our shadow.

So let's bring down the gain to,

like 0.5 and then we're gonna bring out some a little bit of blue here.

Maybe There we go.

I went 16 There we go.

So a little bit of a blue light cast down on that scenarios we got

to do is we got to bring in our next element.

So I'm gonna create a merge,

and we're going to composite our next element on that.

But guess what?

It's gonna have to come from the same image source ao pass.

So where is that a Oh, pass.

Well, it was a oh, multi.

We need to look.

There's red green.

There it is.

So it's the green from a oh, multi.

So let's come over here in select out of here.

L'm, uh, lte, and we're just going to composite in the green.

All right, now that you can see how this is working can see,

I'm not getting quite the expected Result Channel packing file in Out.

We do need to jump in here and change one little thing.

And that is basically we're gonna put a shuffle in in this case is

still far more efficient than doing it the other way.

So I want to take what we got, which is a multi.

And I want to just shuffle the green toe, all channels.

So what we have instead is this And then we can use a merge

that responds just like a normal merge.

Except we want to switch the operation to multiply.

And now we have that darkening of the landing skids right there.

You see that?

Awesome.

So you can see there's many different ways,

but this still is a farm or optimized way of working than if

I had a entire another file loader that would be loading

that and then processing that,

then applying that now that we have all of our background ready.

Now we need to build up our helicopter.

Let's bring out some of that over here when I kind of put a dot node down,

Let's create a UN promote.

We're UNP remote.

All of our layers by RGB Alfa?

No, Our Alfa is in our copter beauty Alfa.

So what that mean?

Well, let's take a look back.

Here are copter beauty.

Alfa were using that to un pre multiply.

Oh, actually, we want to because we're rebuilding these passes here.

Body diffuse Alfa.

So let's go back here and select body Diffuse Alpha.

So now what I want to do is I want to bring out the various

merge nodes and start with our body diffuse.

So let's take that one first.

Let's just go.

Our body diffuse Shuffle that over.

Okay, so that way we are looking at this guy right here.

And if we did our unbolt correctly, you can see that is expanding those edges.

Awful.

So we're gonna create a color.

Correct.

Here.

Now we're gonna kind of dark in it down just a little bit.

Tenancy point playing to 86 and about a 2.6 on that game.

Just brighten it up just a little bit there And now want to grab a mask?

And what we're gonna do is we're going to do another color, cracks.

Except this time, we're gonna grab a mask from the blue of our multi Matt,

which hopefully will be the color of the actual helicopter.

So let's go back to our layered contact sheet.

Let's look at our multi, Matt.

Here we go.

Multi.

Matt, we want to grab the Blue Channel.

Okay, so here we go.

We go up here, we're gonna ranges, we go to multi, Matt Blue, go to color.

Correct.

And then what we can do is we can just kind of drive it like that

and we can see that's exactly what is happening.

And it just kind of ah,

brighten it up a little bit and to and we're gonna give it a

little bit of red just a little bit there.

So let's grab another shuffle,

and we're gonna bring out here body directly over there,

and then we're going to create emerge.

We're gonna merge this on top of that like that,

and switches to multiply so far, so get now,

you can see it's got a value of light and dark on it.

And just so we know this is the direct light.

And down here we were shuffling out the diffuse, so I'm gonna put diffuse.

This just helps me keep track of everything right here because

we're going to do the same thing again over here,

and we're gonna grab the ambient occlusion a multi.

I believe it's just the red right there.

Let's double check.

Yes, it is.

And we'll just do the same thing here.

We're gonna multiply that on top a over B.

I think that so just kinda darkens it down just a little bit more

so you can see the progression right there.

Now, before we go further, I kind of want toe,

put it over top of the background here.

We're going to just kind of create a merge right down here.

So that way we can kind of see where this is going.

And if we view that we can see, Yea, we don't have an Alpha Channel.

When what's happening here is if we look at our Alfa,

you can see it's getting a little contaminated.

What happened?

Let's go along the way.

There's one that's okay.

That's not OK.

One easy way we can do that is remember the copy note.

So we'll put a copy note in here and well,

look it right back up to the original from up here.

But also we got to do is remember where we got it from,

which was the body diffuse.

So what we can do is weaken Go in here.

And we could say, Hey, where do we want to pull that Alfa Channel from?

And eventually we're going to be putting the helicopter

rotor blades in before it gets over.

So I'm actually gonna grab the copter beauty.

So let's go to Copter Beauty, Alfa, and let's take a look.

There we go.

Right here.

There's the Alfa, and you can see it's we don't have any color up there yet.

That's why it's black.

Nor do we have reflections.

But it is correct.

Now, one thing we don't have correct is we unm ult applied.

So over here, we have to pre multiply.

We need to do that after we get the proper Alpha Channel right there.

There we go.

Okay, now, Awesome.

So far, so good.

Now we're gonna have to work on this a little bit more.

We're gonna add some mawr highlights.

We don't have any speculator ity.

We don't have any for now, we don't have any reflections yet.

And our rotor blades air just being held by a empty husk.

So let's go do that in the next clip