All language subtitles for 09. Converting images to deep

in this lesson

we will learn how to make any image a deep image

so now that we've Learned

quite a bit about deep compositing

you might want to take any image

say for example

some stock footage that you have in your library

and use it in deep composite

it was when I say stock footage

I mean stock elements

things like explosions fire

sparks smoke fog

so what I've done is I've rendered

some CG fog ground fog for our Grolo scene

you take a look at it

this is the element and

of course the first thing you'll notice is

story of a compositor's life

it's not a very good CGI element

so this is from Render Man

gone through and done the same setup

that I showed you in the Render Man lesson

what I want to point out is that this is a

volume render

this is actually volumetric

it's not geometric

if I show you the deep samples

for instance at this particular pixel

we have an astounding 603 samples

just at this one pixel

and if I move around

can see there's over 500

there's hundreds and hundreds

and hundreds of samples on every pixel

what this means is that

this render

this deep render

takes up a huge amount of storage space huge

I've rendered it 1/4 size

but the full size was over 6 gigs

6 gigabytes for a single frame

let's take a look at how this actually looks

in our composite

enable this deep merge so here

you can see that it quite beautifully actually

integrates into the scene

unfortunately

it's not really the element we want

so let's go ahead and see what we can do

let's say we've gone into our elements library

and we've found this perfect fog element

in this case

it's just some noise that I'm generating procedurally

here in nuke with a noise note

default settings

and we have a few options here

if we wanna make this deep

and these are the same things you do for any image

got two nodes that nuke gives you

deep from frames and deep from image

let me plug this in

deep from image

this is what we get

make the viewer a little bit bigger for you

open up the properties panel deep from image

we don't have very many options here

so in this case

by default this is unchecked

so it goes all the way in the background

not a particularly useful thing for us

specifies Z

so now I have a distance from camera that I can set

I move this up and down

we can see that

it changes where the plane is in the scene

but it's just that it's just a plane

so for something like atmospherics

and fog in particular

you wouldn't

this wouldn't work

you wouldn't

you wouldn't believe this is fog

obviously fog completely envelops everything smoothly

so as a tool

deep from image is

not going to be suitable for this particular task

let's try deep from frames

so this looks much better

we can see that there's more

atmosphere in the background

and less as we move forward in space towards the camera

look at the settings

it gives us quite a few more settings

so in this what's really interesting

for our atmospherics here

is that it gives z min and Z max

so the min max

would be the density and distance from camera

as I take this

say move this around a little bit the min

let's make it 100

or just maybe 75

so now it's gotten closer to the camera

and we can see

that there's now more density in front of the character

take it all the way down to say one

can see now it's looking pretty two dimensional

because we just got

everything up front over the character

there's nothing really coming out of it

let's go back to 1:75

see now it recedes much better

let's go with the Max

just look at 500 instead of 5,000

so here immediately much

much more dense in the midiground

but still not going in front of the character and not

certainly not going into the extreme foreground here

so you can see this is adding much

much more flexibility for our atmospherics

and using

using stock elements is something that's really common

in a deep compositing shot

because it is so easy to integrate something like this

with atmosphere

it's something that we did all the time

on Godzilla and Guardians of the galaxy

and it's just

it's something that we use in almost every single shot

we just

get this up to 1,000

and I'll just push this back to 5,000

just so you can see the different looks that we get

here we go

so something that's popular

is a tool that I've ever called deep extrude

what deep Extrude is just plug it in

you can see we get the same result with these settings

is sort of a simplification

at least from the user's perspective

of what deep from frames does

you're not concerned with how many frames you're

trying to extrapolate depth from

or anything like that is really

you just plug in your stock image

say how far away you want

the plane to be from the camera

and then how much you want to have it fall off

which is blend

the blend essentially

if you think about it in 3D space there is

a plane or a card

being projected in the camera's frustum

and then it just

its maximum density at that distance

in this case 175 units

and it just falls off

to become more and more transparent

in this case for at a distance of 5,000 units

it becomes completely transparent

so it's a really simple way to do atmosphere

for instance if I just bring these down you can see

lends less and less

if I move this to 75

the plane moves forward and now

it's coming past the most foreground plants in our shot

set this back to where it was

I'm gonna include this with the project files

so that you can take advantage of this

I'll show you inside this group

it's actually really simple

just take deeper image

and then we just use a couple deep expression nodes

to just create a few knobs

and they just give us some additional controls

that don't really exist by default

to give us that extra usability

this is what I usually use

this is what a lot of my

lot of my colleagues use

it's just a much more user friendly

way to convert something into deep

and so I should point out

about things that have been converted to deep like this

is that they are not equivalent

to something that has been natively rendered in deep

something from a CG rendering in general

from the scandal render

note this is not as accurate as fewer samples

and it's not

it's not as good

it's not something that sophisticated

so if if we were to convert the character

just a 2D image of the character

we wouldn't have all of the

contours in the shape of the character

in the deep volume

it would just be a 2D image

that then is just stretched out evenly

towards the camera so really

converting images to deep is much more successful

when you have something that requires a very even

amount of depth

something like atmosphere

which is why it's very popular for atmosphere

I'm gonna go ahead

and integrate this into our shot setup

and make a holdout

and then show you what that looks like

we have now reached the end of the lesson we Learned

how to convert regular images into deep images

in the next lesson

we will learn how to merge converted deep images

with native deep images