Original subtitles

In this clip we're going to take a look at the basic keying template.

Now this template can be modified and added to as needed

so it's a really great starting place.

Now I will note that all the tools in this template

are really just placeholders.

So no settings have been changed and they're only placed here

to recognize where the tools and the order of operations

should be placed within the script.

So let's take a closer look.

So up here we have a placeholder for the original footage.

Now if you want to preprocess the image or anything like that,

you're going to put in a read node instead of the constant and

then here do the preprocessing workflow.

So for more information on preprocessing,

please visit the Pluralsight course,

NUKE Green Screen Keying Fundamentals and take a look at the

clip on Image Optimization and Preprocessing.

Next we're going to take a look at the different types of mattes.

So of course we have the core matte and within the core matte,

it doesn't really matter what tool you use to pull that core matte.

So that's very important to keep in mind.

You can use various different ways to pull this core matte.

The main thing is that this matte is completely black and white and that is 100%

opaque in the middle of our image so that we aren't losing any information and

so that our character object is not transparent.

Next we want to erode that particular alpha by one or two pixels just

so that it doesn't interfere with our fringe matte,

blur it a little bit so that it's well integrated.

Now let's take a look at the fringe matte.

So again,

the fringe matte can be pulled to the keylight or any

other tool; it doesn't really matter.

The keylight is just known to pull really great edge detail.

Some artists really like using the IBK keyer setup as well.

Here we have an example where we are combining two different fringe mattes.

You might only have one or more than two and we've used

the keymix here to isolate the A input.

So we've made sure that we've retained all of the keying details

in the A input with a rotoshape and blurring again where the two

of them are going to be combined, just for the best output.

From there you can also use a channel merge to

merge those two elements together.

Some artists like to use a screen; however,

a screen will generally place together the RGB and A and

we're only looking to combine the alpha.

So this is a really great streamlined way to combine the two elements.

So we have the combined final matte here.

Let's take a look at the despill now.

So we have again a placeholder.

Replace this with a read node.

Down here to the despill.

So I've used an expression and a hue correct.

Again,

take a look at earlier modules and clips to see what might be the best

way for you to despill your image for your composite.

From the separate despill you're going to copy over that final

alpha to our despill and premultiply it.

Once you have that premultiplied image,

you're going to head up to the background.

So here's our background image.

Again, this is a placeholder.

Please place in a read node here.

Color correct it as need be.

Perhaps it needs a defocus or something like that to match the

foreground image and add a regrain to make sure that we are matching

the grain from the foreground green screen plate.

We're sampling it here.

There are other types of regrain that you can use,

but this is just the one that we're using in this particular example.

Now that our background is regrained,

make sure that we composite it behind our green screen image

that has been despilled and premultiplied.

We add our lightwrap.

So our light wrap is completed over top of both of those images,

merged over top and outputted with a write node.

So now that we are finished, this particular clip with the basic keying template,

let's take a look at a more advanced one that will

include those tips and tricks.