All language subtitles for 4. Matching Noise

In this clip we're going to take a look at matching noise.

So now that all of our elements are in place,

we need to reintroduce the noise where it's missing.

This would be primarily in the background and in the edges that we have blurred.

There are two main tools inside of NUKE that can add green and noise.

So let's take a look at our script.

So in our script we're going to primarily focus on the teal backdrop.

So these are from the previous clips in modules and

so we're going to focus over here.

So here's the background that we've used in our previous clip with the

background color correction and here is the noise section.

Now I will note that I use the words noise and grain

interchangeably throughout this clip.

If you need a really quick refresher on noise versus grain,

be sure to refer back to Pluralsight's NUKE Green

Screen Keying Fundamentals Course.

There you'll find a clip labeled De-noise versus De-graining footage.

So in that clip we recognize that noise is more than visible in

our shadows than it is in our highlights.

So keep that in mind when we take a look at our grain tool.

So here is our grain tool and let's take a look at it over top of our

background image and we're going to focus on the white car.

So here the noise is quite visible, which just doesn't quite look right.

So let's take a look at those parameters inside of the tool.

So in the grain tool it is quite limited.

You can change the size, the irregularity,

and then intensity; however,

changing where it is visible and the highlights versus

the shadows is somewhat limited.

We have some settings on here that we can play with,

but it's definitely not the easiest tool to use.

Now it's bonus that it has is that you can apply this noise or grain through

the alpha only so this comes really in handy and you're going to see that

doesn't quite work inside of the F regrain tool.

So let's take a look at that F regrain tool.

So the F regrain tool, here we go.

So this has been sampled already and we can see that it's very,

very subtle, so let's just take a look at those shadows.

Let's take a look at that blue channel and it'll be easier to see.

Disable, there it is.

So it is there, but much more subtle than what we had in the last tool.

So the last tool could be revised a little bit further,

but it won't give us the control that we have over top of the white car.

So at the top of this tool, grain type should be from grain clip,

not preset stock.

So preset stock is going to be all of these pieces of grain

and noise that are already predetermined.

Let's make sure it is from grain clip and we can

sample that from our original image.

So here we go.

So source input to our background,

grain input to our original source plate that contains

that noise and for the most part,

the default settings will do a really great job,

but there are some parameters that we can change.

So inside of this tool, very similar to that denoise,

we want to sample the image.

So let's just take a look.

So here is our original image and I've sampled in an area

where there is just consistent color,

no real pattern in here or anything like that.

So I've sampled it over here and then hooked it up and that's

what's added all of the noise to our play.

Now there are some things that we can change.

So we can change how intense the red channel is and so forth; however,

again for the most part we can leave it as is.

Green amount, green size overall.

So that's looking really great.

I will note that there is another really great tool

on the nukepedia website so www.

nukepedia.

com and it's called the AdvancedGrain tool and the benefit to

that tool is that it has a curves feature,

which allows you to really just manipulate where that noise is appearing.

Now that is a gizmo so it may not be available to

install at your studio; however, if you install it at home,

then make sure that you look into gizmos.

We're not going to cover in this course,

but that can be installed through that process.

So now let's take a look at where else we have to add that noise.

So down to the bottom of our script at the very end here is the edge

blending that we were talking about with the blurred edge.

So remember,

we took that blurred edge and it was up here at the top of the frame.

So up in here we are blending the edge.

Now as previously mentioned,

the regular grain tool is really great at only

applying it through the alpha; however, not so much for the F regrain tool.

So let's take a look at this here.

So we're going to take a look at the F regrain over top of

everything and it's applying it to everything,

even though we've copied this alpha over.

So we've taken the alpha from the edge blending and we've applied

it to the tree so here it is through the tree.

It's in here; however, the F regrain tool is not picking it up.

So we have to have a bit of a work-around unfortunately.

So grain the entire image, premultiply it,

and now merge it back over top of your plate.

Now be mindful if you do this workflow,

it could add extra edges that you don't want so extra information that you

don't want in here and a different workflow would be needed,

but it's working quite great for this one.

So let's just take a look at the two examples.

So this was before.

So we're just going to zoom into the hair,

that's where we can see it really well.

So here it is.

So right up in here.

So this is before, this is after.

Look at the difference between it.

So again, that just very, very subtle detail that's adding.

This is with the noise, this is without, and it's looking much better.

It's looking like it's more so from the original plate so that it makes it

appear like the two images are from the same plate and they're not indeed

from a green screen or blue screen piece of footage.

So we've done some overall color correction.

Just take a look at this here.

So back here it had been pushing some of the blue a little bit on here

so we have isolated that blue color and just brought it down just a

little bit and overall to add some contrast,

crop it, so that we don't have all the extra information outside.

So we want to get rid of this because it will make our

script in our render quite heavy and larger than needed and

that wraps up this particular shot.

So in the next module we're going to take a look at just the

templates and a QC checklist to make sure that we have gotten

all the little revisions done, but that wraps up this particular shot.