All language subtitles for Nuke_General_CompositingSegment[3]

be one or two pixels

I'm just gonna press 2 into there

and that should add just a very slight

green on one side and then red on the other side

okay now

I was a little bit worried about using this

because there are so many highlights onto here

I didn't wanna give every single highlights

a big red and green sort of

you know outline

but if I add this just a tiny bit uh

normally helps the image stand out a little bit

you got a nice

just touch of a colour appearing from each side

and that's chromaticaberation

now I wanna show you how to do some atmosphere

in a little bit

but we're gonna do

we need to go over regraining

and we need to go with the convolve tool

let me just explain to you what convolve tool is now

uh if we want to create a Boca okay

let me just uh

okay great so now I'm gonna add an image

I'm just gonna add this image

I'm just gonna show you on top of the previous image

what how you can do it

okay so this is the previous one

now if I type in convolve

right and I got the uh B into there

now if I add a roto note um a into there

okay now if I just look at this for a second

if I draw a shape

okay so let's just try and draw some sort of a hexagon

not a very good one but not too important

okay the point is

you can turn the highlights into any shape you want uh

with a convolve tool

which is also called a Boca

so the the the

the technique or the effect is called the Boca

alright so now if I look at this for a second

now before I do that

uh the size of this

will determine how big the breaker is gonna go

so far I what I'm supposed to do after this

is just add a crop tool crop

otherwise it'll take forever

so I'm just gonna crop this

okay now if I just do this for a second

I think maybe my control is bit too big

I rotate anyway

just wait for a second

we'll see what happens

okay so the way the convolve tool works

it's very simple how to create a poker

now what you'd wanna do if I just take another image

for example uh

this one as of the previous render

now if I just delete that for a second

now if I just type in convolve

oops yep there you go

now I just put the uh

bee into there and I

what I wanna do is careful

I've just drawn a small hexagon

so there you go

hmm very small hexken I got a little bigger pops

go on okay there you go

alright so I made this little bit bigger

uh the bigger this is the bigger the uh

the uh the boat is gonna be

now if I just try this crop underneath there

okay mate the crop

obviously has to be big enough to see the image

we're doing this to make it faster

if we didn't necessarily have to add the crop

if I had to put the a onto there

and now have a look at this

this should in theory

turn all of the highlights of this image

into this shape

and if you look in almost any kind of film

I see this kind of all the time

and most time on backgrounds

or anything that has kind of kind of

kind of out of focus

as rather than just using a generic

just blur for example

now you can turn the smoker into any shape you want

you can make it

they will actually shape triangles

hearts anything you want

now the size of this uh

Boca in this shape

cause you see these are actually all the same size

the same size all over

so what I can do is I can go in there

and if I want to make it smaller just go in

make that smaller

and I might as well save a bit of time

I can do that by uh

making that smaller

and then if I look at this again

they're all smaller now and uh

more accurate

there you go

that's how you can create a poker now

if I wanna use this kind of technique onto a shot

I don't what's gonna blur the whole shot

otherwise you won't be able to see anything

so what I'm gonna do

since we're compositors

and we have everything in different layers

we can simply apply this to a layer

which has already defocused

now if I look at my script for a second

which layer has been defocused

well it's the bottom one

isn't it it's the

I remember I keyed this image

I keyed this image oops

I keyed this image

and I brought it right to the front of the screen

oops come on don't stop on me now there it is

okay so I keyed this image

I brought it right to the front of the scene

and what I can do on top of there is add a convolve

so if I do exactly the same thing

so if I type in convolve

I just copy that to there

and do it again

just so you can see

I just type in convolve

and then get beat to what I wanna blur

K and then a

so I got a roto shape already

let's try this shape here

now there's a crop underneath that

a little bit too big

doesn't really matter

make a huge difference at least

now if I look at this

I should get some kind of nice hexagon

shape out of the blur

might be too subtle now there you go

you're getting some angles

now what I can do is uh

I can add colour onto this if I want

so what I did

I added a grade note

I just delete that

do it again

so first I had a grade note press G

put that underneath that

and if I go into where it says game

or you have all the color

I just go into blue

bang them up a little bit

and we get rid of bit of red

now

I got this

and then both of these I wanna place onto the card

just to create some uh

interesting

effects to the foregrounds of Everything's Blood

you don't necessarily have to

apply this to the whole image um

just for the past

they're out of focus

and there you go

this can both

just wait for a couple of seconds for this to process

now um the more you have this kind of thing kind of

if you do it manually yourself

it does take a really long time to render

and there's different ways you can do it

there is gizmo as you can get

you can buy plugins

uh Boca special Boca plugins

but if you don't

if you don't

if you use your computer at home

you can just make it yourself like this

okay so there we go

there's a little Bogar effects

on the foreground of the blurred image

it's got a kind of filly shaped like a hexagon

if you don't like it

you can get rid of it

so change the shape

change colour

anything you want

not a problem

okay so what I'm gonna show you how to do right now

is how to uh

several things

gonna show you how to use the expression and to

yeah as a despil uh

so how to get that to work on um

a blue screen uh

or for example a blue photograph like this

but it will also work on a blue screen

and then I'm gonna show you how to get it to work

also one for example

a green screen or a red screen

uh we can use the same expression

but within a couple of little adjustments

by looking this right here

click on to this

you'll see this is the expression

this is the colour that is being used on

so if you just adjust some of these numbers over

you can basically get it to work another

the blue one or the green one

and after that I'm gonna show you how to uh

degrain something and then regrain it um

and then the kind of

the quick way

if you're pressed for time

and then after

the kind of the pro way how

which is used until a lot of high end films

right and um

yeah okay we'll get through that

right so first of all

if I have my picture now

again we're gonna be talking about this Bill

so normally

you only get this Bill once you've actually um

once you actually I

I already got uh

a key naturally

cause there's no spill until you cut it out

now if this is um

high blue screen

and you got a lot of blue

perhaps you know

coming in from the

the images over

the image over here

because the background's blue

it's actually quite light blue

so it's not that bad

but anyway it is still blue

so after the key

I can literally copy this uh

this expression

I'm gonna include this in the script

so you can just use this

so if you just open the script up

you'll have it right here

and this expression is simply uh

I'm not a coda so uh

all I can just I

I basically know how this

I know this works huh

and I know that you can make

couple of small adjustments

to make it work on something else

uh okay so right now

this one is set up

I've labeled it a little bit

so blue screen expression

just put that over here

okay so the blue screen expression

will try and get rid of some of the blue

which is kind of bleeding in

and this will work on all different kinds of blue keys

now if I look into the code for this for a second

the expression

you can see that this one is

label for the blue screen

and you can see

that inside here you got B

and then you got R and then G

then you got R

G and then you got 2 then B

so basically the B

that means the blue

alright this is the bread

and this is the green

so if I wanted the same expression to work

on top of a green screen

for example

or a red screen

all I have to do is swap the numbers around

but then also

if I look at this for a second

go back to this one

so if I go back to this expression

and you can see that this is the blue screen

so you got here B and then you got here B

and you must got blue hair ticks right

so if I do the same thing over here

if I look at this one for a second

this one is simply

I got green here instead of the blue

and I got blue at

green here at the end instead of the blue again

so I just took green

so I'll just show you how I actually change that

very simple

if I just copy this one

this is what I'm gonna give you

now I'm just gonna put it over here now just to uh

show you okay

I'll show you how I changed it in a second

just gonna plug that into there right now

and get rid of this one

so this right now is the same one

it's basically programmed to work on the blue

now I use the same photo off here

got the same photo off here

this one's clean

that one now

just to make it seem like

as if we're using a green background

or if to get us to work on to something that's green

if I just look at this key correct

I basically made it green

so that just to show you this this this

this Bill will actually work on something green as well

so it's the same image with a key correct

making it green with a primer getting

getting rid of the background

and now I wanna get rid of this

now if I just plug in uh

this expression

okay straight underneath this one

cause it's said to work on the blues

not really gonna work

okay so what we have to do

okay it's just

might change some of this information around

now I know that this one I want to work uh

on the green okay

so inside the expression I'm gonna change B to G

change that one to B

and over here can change this one to B

d this one to G

and I'm gonna change this one over here to green

and there you go

basically this is uh

the image secret messy green primark keys it

this gets rid of the green

there you go

simple as that uh

uh simple expression which I use uh

straight after any keys

uh because sometimes you know

you get a despil

so this is a fairly simple way to get rid of it

throw other ways

um lucky you can go in with a Q correct

you can select information

and then try and extract that information

but this is a much easier way

so let's go with this one

okay so that's a d spill

now I'm gonna show you a couple of other things

can I show you first of all

how to degrain something

if you want to try and match

you know if you're gonna

uh make a clean plate

for example

and you wanna put it back into moving footage

you're gonna have to degrain it

and then after that

you're gonna have to regrain it

okay so I'll show you

first of all

how to Denise something

okay well yeah

deal with the d noise

that's enough that we're gonna regrain it

okay so I got this image here

now this is what I

what I'm using

this is one of the matte paintings

a part of it

if I go to d noise for a second

and click on to it

this little box appears

and what you're supposed to do

is put this over a flat area of the image

so it can analyze the grain inside that flat area

and after that

you can try and work out

how to smooth out the rest of it

so nothing here is flat

so you can't leave it here

right the only flat area that I can see

that really stands out is basically

oops is come on

the flat area that really stands out

is basically over here

so just make this a little bit smaller

come on don't stop on me now

okay so that's fairly far

there's a bit of a gradient in there

but that's the farthest part of the picture

so if I look at my picture now

before this one and then this one

you can see that there's

if I press 1 onto there and 2 onto there

it's basically getting rid of any noise

now the reason you kind of have to degrade something

quite often

if you wanna re grain it

is otherwise you'll have static noise

it's like it'll be still in there

and you'll have noise on top of it

or grain on top of it

so you don't want that

so you get rid of all of that

and then you can put it back on top

fair fully standard now

so what you would normally do after

cause I'm doing this on top of a still image

just to show you how to Denise something

if you're gonna do this on top of a large

number of frames

for example

you would just write it out

um to save your computer processing a whole bunch of

uh you know

to save the processing overtime also um

you can see right now

this is this is a regrain script

I'll explain this in a second

but this is you know

processor intensive

anywhere on your computer

so if I'm gonna do any

if my composition is up here

I would render it out

so I just have this

or maybe just after the day noise

render that out and then

then I can plug it into here

so the computer

all the computer has to try and work out

it's just a grain and it

this is really frustrating uh

working how to regrain something uh

if your computer's working really slowly

so render it out

and then once it's done

you just plug it into here

now I'll show you this way in a second

now if I just uh

get rid of that

I'm not gonna write it out

cause it's just one frame

okay so I got this image

I have denied it

now just to show you as an example

I have brought in another image with some noise on it

okay so this has some noise or some grain

and we want to match it

now some actually make this just to show you

I took this is one of the pictures from the internet

there was no noise

I reformatted

it's the same size as um

the projects of HD

and if I just added a grain node

it basically goes in and it had some grain

and they wrote out that node

and then there you go

and I have a still picture with some grain on it

so what we're gonna use this for okay

is actually to match the grain for the matte painting

rather than going in

and just randomly adding some grain

you know it's quite a technique

to be able to match the grain to something else so if I

if I wanted to add grain

so this is the image

and right now I have this Denise

no grain into here

alright so what I wanna do is basically add a grey note

I just before I go any further with the d noise

remember I said that

you're supposed to put this little square over here

over the flat area

it needs to be over a flat area

but make sure it's not over a completely white area

or a completely black area

cause she can't really see any grain into those

so if I look into here

there isn't really very much information at all

especially in the JPEG picture from the internet

but anyway there's not very much information in there

so you wanna put it over one of them

pretty much one of the midtones

so that'll be the best area around here

okay anyway

so now that's covered

now if I want to show you

I'm gonna show you the easy way to do this

and then the hard way to do this

k if you don't

if you don't have any time

and you simply wanna regrain it

if I just type

if I just go to

one second where is it

I just go into here and type in uh grain

can't worry

if I just type in green

of course I almost actually never

ever use these

cause you can just type in anything you want

alright now

like I'm saying

this is the quick way to do it

not professional way to do it

but if I need to get it out quick

like in the next couple of minutes

your boss is telling me it has to be finished

and you have 30 seconds to do it

for whatever reason

you can do this way

so there's no grain

go straight into there

bang you've got some grain

okay now this is

it automatically produces some grain

um and there's a way to analyze it as well

so if I look at this picture for a second

okay the colours are different

but that doesn't matter

we're not we're not talking about colours right now

so if I go to the green

if I press 1 on this

okay zoom out for a second

and then after the noise

after this green

if I press 2 on this

and then after here

if I had a white

great we can now see

the before and after

we can see something with grain

and then your other matte painting with grain as well

and we want

all we want to do is compare

the grain in the two images

to try and make them simpler

as we are similar

so once again

if I just drag this down for a second

all you need to see

all you need to see

really is just uh

this picture

and then this grey note

and make sure it's on

oops come on

there you go

right so once gets one

and then 2 on that

so I got this wipe

which is just up here

alright so what I wanna do

is put this close to an area where it's

the colours are fairly similar

they're not very similar at all

over this image

doesn't really matter

what we wanna look at is the size of this noise grain

that's basically being generated uh

by the grain node

now we it's fairly difficult to work out

exactly what's happening

because you see all the colours on top of each other

the red grain and the blue

so let's just go in one by one

if I just hover over here

and press R

okay that's actually got pretty dark

that's okay

I don't need to worry about this area

if I just go over here for a second

I can see another area where the grain

you know I can actually see the grain from basically

this one and this one

now inside the grain note

I'm now looking just at the red channel

this is really important that you do this one by one

the red then the green and then the blue

so inside the grain

note what you've actually got is the size over here

okay got the size of the grain in the

of the red grain

so what you wanna do essentially

is basically move this in this number about

until you reaching a similar size to this

okay that's fairly similar

and then after that um

irregularity

this doesn't actually do too much

so ignore this intensity

if I just look at the red

for example

this is how much impact this is gonna have

so if I go to infrared intensity

bring this up or down

okay no grain

but bring it up

lots of grain

bit too much compared to this one remember

so you always contract

you know ideally

you're gonna compare this to the master image

or the image that you want to regain it to

so you want to

uh regain intensity to the same as this one

so that's way too much

I look at that okay

that's pretty good

I'll leave it at that

now that I've done the red

go through and do the green

excellent let's again

let's just try and find an area

where the colours are very fairly similar

now inside the

again gonna start up over here

since uh sorry

so still inside the grain node

so inside the grain node

I've got number

I've got the size of the grain again

if I bring this up against obviously

the note that the grain is never gonna be that big

it's normally around 2 to 3

or say 1.8 to 3 on average

so if I just look at this again

or too small too small

you need to try and match the patterns in here

and there we go

put it like little beans or something like that

okay again right

that's fair enough

and then again

forget this part

doesn't really do very much intensity

get a green

that's way too much

that's completely flat no grain

so somewhere in the middle normally

there we go

alright that's good enough

after that go straight over to the blue channel

and of course

you can just hover over this

and then press R and then G and then B

alright so now inside the blue channel

blue channel's normally hmm

the most important one

the one with the most green

if I just do the same thing

hover over here for a second

try and find something that's fairly okay

that's similar enough

at least to see the size

so again if I just hover over here for a second

okay so red

we're doing oh

I'm on the blue sorry

so over here

blue size okay

it's never like that

it's never like that

it's normally around 3 2 to 3

there you go

there's a little beans happening in there

if you look closely

they're kind of like baked beans

alright okay alright

so if you get this

doesn't do anything

doesn't do anything

um now again intensity

get on to where it says blue again

this is like

how much so known too much

somewhere in the middle

is always pretty much where it is

excellence now this is the simple way to do it okay

and it does get harder

so what I could always do if I wanted to regrain it

is basically I got this image here

which I compared it to

got this image which is completely

hey this is

I'm gonna zoom out for a second so we can see

okay so I got this image again

get rid of the wipe

for this image

then I can always do it so you can see the difference

this image kinda subtle difference

then this one

and then re grind

there you go

bang this is

now this is the

like I said

this is the cheap way to do it

um there's a harder

more labour intensive way which

if you wanna get into it

which one do some high end stuff

there's a more accurate way to do it

so what of course I could do

I am happy with this one for right now

and this does work fairly well

and this other technique

I'm gonna show you in a second

sometimes this doesn't work very well

okay so this technique

it basically separate

separates the channels one by one

and then after that

you can go in and regrade the channels

which is similar to what we're doing here

but then also with this

and with the lookup table

you can actually select areas

that you actually want to add more grain to

for example

sometimes in some of the highlights

you're actually losing a lot of grain

so you might want to get rid of it there

and you might want to add more in the area like this

for example

okay if you really wanna go in and be very picky

alright great

so now what I'm gonna do is

gonna pause this for a second

gonna start again in a minute

and it's OK

what I would do after I regrained it

is just write that out

and then bang

you're done

okay once again

just in case I

I mentioned it earlier

the beginning tutorial

if you wanna write something else

uh as an image sequence

goes to the home

uh I can understand with the desktop

for example but uh

what you gonna do if I just write in regrained

uh oil rig oops

now I get if I wanna write this out

as an English sequence

what you gonna have to write is dot

and then percent

and then 0 5 d

and then dot

whatever you wanna say

but that's the dot

tiff dot dpx

um okay so um

what this is again

dot percent

zero five d

this is the padding uh

this is how many basically

frames there are

so it's gonna be 10,000 frames

you're gonna need four zeros

some I think

something like that

guys you never really need to put more than that

but this I just try and get used to remembering how to

you know this thing is to use it all the time

everyday so

dot present 0 5 d

dot F or d P X

or whatever you're rendering out as great

okay so what I'm gonna do now

since I've already shown you how to create

uh the grain

and then write it up

very straightforward

and we're matching it from the other photograph

where that I put it

I put it down here

so there you guys

there's the photograph that we're matching the grain to

and I'll show you the basic way to go in

and basically regrain it

okay so I also said there's some other ways to do it

um so I'm gonna show you another way

and I worked in several film companies and

um you know

I know people that worked in the film industry

for several years

that don't quite cross this

best of the yet

even though it is actually fairly straightforward

so you know

if you learn that um

these little extra bits like it

you know the colour

the chromats

collaboration

and then re graining

or stuff like that

you start to learn all these little steps

and then the next time you get for an interview

you can mention that

you understand how to do all of this

so you'll impress

the people who are gonna be employing you

right so what I wanna do is

in this teneco

still gonna use this image to compare the grain to

um so this time

I'm gonna leave this one over here

this is the grain that we made in the last

in the last step

um so I'm just gonna leave that there

I could delete it

but doesn't

it doesn't do anything

so again I got this image

and this is denoising it okay

so what I'm gonna do is just feed this straight through

and again I'm gonna give you the script um

so you can actually uh

just try and feed you know

do something similar to yourself

um uh sorry

do something similar with one of your images

not to yourself

alright so you can take an image

you could denies this um

and then I'll just explain

roughly what this does um

this essentially keys um

the whole thing um

and then after that

so if I look at this for a second

k all this is a Luma key right

there's no key

Luma key adds a key

after that if I look into the shuffle

so I make sure I'm actually looking the right thing

k so basically in the key

if you look in the shuffle

it puts all of these straights away into the alpha

right and then after that

what I'm gonna be doing is

uh looking into there

where that's just gonna set up

the way it's supposed to work

after that shuffles out the correct alpha

into the correct channel

K so basically

it takes the information from here

and then you got the a

so they've got um

the elf going from here

and it basically shuffles out into the red

this one shuffles it out into the green

this one shuffles out into the blue

and then straight away

it adds another green note

so it really is not important to understand

what that's doing but that

that is basically what it's doing

it's separating them

and then it puts the offer into the correct one

so you can regrade everything separately and again

that's actually fairly similar to what this one's doing

except for this

gives us a few extra options which

which will really help us

okay so now

and then after that sorry

um shuffles them out

uh into great notes

and then it come

uh you know

you're basically combining uh

the channels back together

but you literally leave this as it is

and you just you uh

kinda run through

in a similar process to what we're doing for this one

so if I just uh

go back over here

and press pause

so I can see my colour image

and look at this one

and again what I'm gonna wanna do

is move this down here

for example

and just so I can see uh

what's happening after this

or after this

I'll explain why

there's a pre

multiply and

emerge that's uh

between clean plates anyway

so if I'd had

if I look at this one

and after I look at this one

you can see now

that it is adding some grain

it's gonna be different

so again if I go over to here

and I get a wipe

now what we wanna do

is basically

and let's try

and make this uh

the viewing region

a little bigger

you know nothing really

too important to look around at right now

in here so again

I don't really wanna concentrate on this area

it's very bright

um so if I just look

at an area whatever

something like this

you can still see roughly

the different colours

and everything

okay let's just have a look

okay let's just uh

perhaps go over here

alright brilliant

so same as before

uh same as the other

great note you have to do the colours one by one

so you're gonna have to go into the red

and then the green and then the blue

so what we gonna do

is click on to this one here

so first of all

this is green and it says red

so click on to that and then you see properties

okay so this looks similar again

to the way the other one was set up

the only difference is

is that with this method

here with the grain

you adjust this

you'll adjust the red and the green and the blue

but with this technique

what you're gonna do

if you go to this one

this is the only one that's gonna work

the green and the blue is not gonna work

you have to go into this one

in order to affect the green

and then this one in order to affect the blue okay

so what we gonna do is go over to here and then press R

so now looking at the red channel and again

let's go to a part where we can actually see something

what we're doing

so again similar to last time

right brilliant

so again if I go into the red channel

just to make

double click on to it to make sure that it's over here

so similar as before

we were looking for this kind of texture

similar to here right

that's fine

play this part pretty much cause it doesn't do anything

okay brilliant um

now um right now

if I want to go into the green channel

by pressing G over here

alright if I adjust this

nothing's gonna happen

just remember

if you're trying to do something and nothing happens

this is just the red channel

and it says red channel up here

okay green red

if you wanna change the green channel

double click on to this one and there you go

now this one says green

so now if I go and effect the green

it will work

I was just sitting over here for a second

so we can see a bit better what we're doing

think maybe a tiny bit smaller will help

so once again if you do this

nothing's gonna doesn't make a difference

cause this is just a green channel

okay so now the green throne there doesn't do anything

there green channel down here how much

okay that's looking fine

and then what you'll stage go to to the blue channel

and again nothing will happen

to actually double click on to this part

oops ah there we go okay

my computer froze for one second but here we go again

so grey and blue

alright so what I wanna do

this is the blue right here obviously

and again it says grey and blue

so we know that if I change this it's going to work

uh okay fair enough

it's fairly just made this over there maybe

okay so that's pretty close

and then again inside the blue channel

we don't really want the blacks to be too much

black in this

and vice versa the whites

okay but there we go

now it has green in it

so if I get back out of this

and if I just pause for a second

I go to RGB

we should now see that

the grain should be fairly similar by now

K and it is K

so that's uh

essentially what you can do with this

you can go in

if you wanna get more fiddly you can

if I want to go in and I want to say

I actually want some more grain here

there's not enough

you can see that in some of the images

actually in here

there's not

there's not very much grain

uh so for some reason

I want to add more grain to this area

what I can do

is go over to where it says the look up in here

so again this is the script

I just zoom into here for a second

and I get to look up

now the look up is where you can essentially add grain

uh so you look up sorry

look up is where you can analyze the image

and then add grain to particular areas so if I um

if I hover over here and press R

there's a fair amount of green in there

it's like a G for a second

there's not very much green into there

like a B not very much blue either

so if I just go into the R for a second

and that was fine

and G okay great

now if I just go over to where it says green here

and if I just hover

if I hold down the control key

okay on the Mac

I'm pretty sure it's hold down the Mac key

you can see the area that I'm selecting

and you can see the colours as well

that it's actually going over

and you can see that at this area

the red is here

the green is here

and the blue is here

okay so what I wanna do

and if I wanna affect the green I am

I need go I wanna

I want to make sure

I'm actually clicking on the green part here

okay so if I just select this area here

and again looking at the green channel

if I wanted to be more grain in the grain

literally just go over to here

zoom in a bit by scroll again

hold on control

an option I can create another point

oops range step backwards

select that again there you go

if I want to add another point

technology control and an option key

alright select the area

if I want so I can literally go in

and you can see that very subtly

I can actually

this is just the area that will add the

the the noise too

can add more

I can take away noise

so you can really go through your image

and pull it apart um

if it's necessary

if the grain you're making is not working

you can actually go in and redo it yourself

now if you start to go a little bit too crazy

and add too many points

okay oops okay

and if they start to do really crazy things

your grainy script is not gonna work

alright so this is

they're pretty much already set up

with a curve like this

and that's the curve roughly

which is gonna work mostly for the script

there's not very much grain

you can see here in the light

there's not very much grain in the dark

this is a grain of the other values

for all of the colours

okay excellent

so there you go

that's the slightly more in depth

approach to regraining

oh yeah so now I also said

uh that I would explain roughly

why there was a primo supply here and then a merge here

okay so now what you'd be doing

if you're working on a film

you would put the footage here

okay and then if you wanted to make a clean plate

for example

if you're working on the new Terminator film

or they're actually gonna be making a Robocop

fully soon um

or Total Recall or something like that okay

and you wanna place the

the main actor's head with a big monster K

or the Terminator or something like that

or some Robocop special effects anyway

you wanna replace his hands or something like that

what you wanna do is basically have the area rotate out

um so that inside here

okay if this is your clean plates

uh you know

this is just my painting

but if this is your clean plates

if I look in the ape for seconds

uh there is um

there is that there

I don't want that

so if I just uh

type in oops

if I just press tab and go to remove

if I just plug that into there

and I go to channels and then go to all

that's where my channels go to alpha

and now into here if I just

I had a rotor nose and again

let's just look at what we're actually doing

so if I press arts couple times

so imagine this

this is rubber cubs head

and you basically want to get rid of

you know this part

I'm not gonna go into uh

you know clean plating but essentially uh

this part would now be cut out

make sure that's obviously just on to alpha

cause of that part without be cut out and recreigned

and you'll be merging it on top of the original

and so you'd actually be matching the uh

the grain from the original plate

so okay so this is basically why you would have uh

the pre multiply here and then emerge here

but for the purposes of what we're doing

not completely necessary

uh too much anything into there

or to prim multiply anything after that

you literally just uh

taking the image and analyzing the colours

and trying to get something similar after that

which I think we did a fairly good job of

okay now just before I finish this

just wanted to go over another quick technique

for the colour

uh sorry chromatic aberration

there's a couple ways to do it

just like a note

there's there's many

many different ways for doing absolutely everything

okay and uh

that's why it's important to

understand what you're doing

try and think of how can I do it

and then just try and do it

okay so one way I might

pretty sure I showed you before

if I go look at this image

so again we're doing a bit of chromats collaboration

again I'll just include this into the script

so you can go through and have a look

okay so this is the way I think I showed before

so I did a shuffle note

okay now I want in this side I want to keep uh

the green and the blue and the alpha right

and actually just wanna get rid of the red

so I wanna put that over there

and then on this side I wanna keep just the red

everything else I'm gonna put into zero

add the green and the blue

alright I'm gonna put in zero so there's nothing there

I hide that

now if I wanna put them back together

you have exactly the same as what you have here

and then if I say transform

over a couple pixels

okay so I showed this before already

but no harm at getting having a small reminder

now I know this very similar way to do it

while I'm using a transform

and if I look at this exactly the same result happening

if I get rid of the transform

so um in this one over here

in the shuffle

you're essentially getting rid of uh

one of the colours

the red here

and in this shuffle

you're getting rid of the green and the blue

and then the alpha

the alpha is not necessary at all

but anyway in this image

rather than having

rather than using a shuffle

you can just go in with a regular remove

so if I go into the remove

and put this on

and so I have the image here

and I go to remove

and problem changing

normally I've been removing the alpha

please change this channels to RGB

and you want to actually get rid uh

of the red okay

and the same on this side over here

I wanna change this to RGB

and on this side

I wanna get rid of the green and then the blue

and I get more

and again soon um so

this is pretty much exactly the same thing as this one

just using the remover instead uh

now again with the shuffle copy

cause this is

uh can be a

a bit of a tricky part that people are afraid of

so again once inside the remove channel

basically you're getting rid of the red

so inside the channel copy

you're gonna wanna

on the what

on the No. 1 input

you're gonna wanna keep the green and the blue

and then over here

with the remove

you're keeping the blue and the green

so on here you gonna wanna keep the red

that sounds a bit backwards

but that's because inside here

we're removing the green

and the blue

we're actually keeping the red

so inside channel copy

Wanna keep the red

hey if that makes sense

now if we look at this

you've got exactly the same

from this one

onto this one

and if we just go in

add a little

transform over a couple of pixels

cut it up cut it down

you don't wanna add it too much um

I prefer when it's

I prefer when it's just uh

on the side a little bit

transform one or two pixels

and there you go

if you're looking close to any of the images

keeps getting a slight

the chromatic collaboration

there's like

a twist in the camera

you're essentially

doing something similar to what happens in a rainbow

the colours are being filtered out

okay so there you go

there's a little reminder of the chromatic aberration

there's my extra technique

uh the pro technique for um

for re graining

there's the other technique I already showed you

for the grain quickly

and there's the Despil Magnonote for uh

despiling on different colours

I hope that was all very helpful

alright then

so what I'm gonna show you now

is how to finish off the image

uh perhaps uh

add extra few touches

and also um

I've made several different variations

for the final image um

and I like both of them

so you can kinda choose which one you wanna go with

uh I've made one here with the blue sky

and I'll be

I've added some extra touches

like I've added some blurs to the foreground

I've added some uh

extra kind of Boca effects

like um um to the

to the foreground as well and uh

so I've done it to this blue sky

and I also done it one with the brown sky

right so what I just wanted to finally do is just uh

tell you where I got this background image from

um obviously

I'm looking at the final part of script right now um

and I told you already

couple times that I've used several different images uh

for the background

so if I just go to the back of my script right now

and again you can see that there's this pretty

nice brown sky

um there's the other sky

right so where

sorry where

where I got this uh

sky here from

I got this absolutely huge image uh

from place called uh

Hyperfocal Design

uh the company that provides uh

very large images of skies other

other images

um so the website's uh

hyperfocal design dot com

forward slash night

hyphen skies

hyphen tape

and there you go

you got a very rich resource of uh

very very beautiful uh

night sky image

well all different kinds of sky images and other

other images as well

right so I went into there

and I found this

images that I wanted to use and um

it was actually 14,000 pixels wide

so absolutely enormous

so I had to bring it in and uh

reform matter and render it out um

because this image was big enough tears

for just about anything

that in you know

in the one that I provide

that I did actually go in and uh

I had this uh

I actually revealed a little bit from another image

on top of this um

just so that uh

if I view my final image

you can see it actually seems that it's

kind of appears as if there's

there's almost like a sun as uh

sunrise starting to happen over here

but apart from that

I used the rest of the image exactly as it was

and it's a very nice one

so there you go

that's a hyperfocal design

and I like both of them

and they both have a different kind of uh

feel to them

uh well they both work quite well right

so what I'd like to show you to do is how to change

how to make the changes between us

but then also

of course um

how to make your image uh

3,080 by 1,008

sorry 3,840 by 1080K

so it's fairly simple

so what you'd wanna do uh

if you're gonna make it

you know a matte painting should pretty much the size

towards the beginning

how big you want it to be

so if I wanted to uh

change the size of

you know of uh

of my my picture

cause if I wanna make it bigger

all I must do is go over to here for a second

and then press s

and then where it says a full size format

click onto there and go to new

and then inside here

I wanna put the dimensions that I want

and I wanna make it twice the size of HD

just that you know

for the same size as this one

so I'm just gonna copy that so 3,840

just gonna put an X there 3,080

and I'm just gonna type my name after that

so it's gonna be easy to find after that one

try and select it

oh same one already exists

okay fair enough two

okay so now if I get

hover over here against the property settings

if I just press s

now inside the prop where it says a full size format

just change that to the one that you just wrote

and there you go

now from every time you reach

try and reform on something

it's gonna have these size project settings

okay so what you wanna do now is basically

underneath everything if I

if I if I bring in an example of the floor

so this is an HD size

and I want it to be the same size as the reformats

so I had a reformats and then there you go

simple as that

it's now the width that you want

no naturally

if you want to be working with

like longer

more panoramic kinda images

you wanna try and find them from the beginning

and that'll help you cause quite a lot right

so now I wanna show you how I put this all together

it's fairly straightforward

so I got this blue sky here

and I got this uh

brown sky here as well

I supplied both images

so you can use them both

right now I've all

you know uh

I've added a simple transform into here

so over the court

the period of uh

750 frames so yeah

let me just double check that over here

that's in the wrong settings

I change that to 750 uh by one

so now if I go to frame one

okay it's just gonna have uh well there you go

it's gonna be still there and if I go to 750 over here

there you go

so over the course of about 25 seconds

it's gonna pan across a little bit

and it's gonna be very

very subtle uh

you almost not gonna notice the fact that it's moving

but you will notice it

and that's why it's gonna look good

right so there's that background

and then there's this one as well

look at that for a second

here we go so same thing applied to this one

right now what I wanna do is uh

I pre multiply this

cause there's an alpha inside this

no there isn't

let's just say that still works

it's on the background anyway

so it doesn't matter

and she don't need that anymore

okay so it's on the background like I said

so it doesn't really matter

there's an out front side there

so imagine this little moon on top

and then after that

I've got this mountains which I wanna merge on top

so plug that in

as simple as that

adding a mountain on top

now after that I want to add the lights

so on the mountain plug the lights in

so these lights were really just as simple as um

I googled uh the night time city lights

I found a picture of a city that was far away

I just cleared it and put it straight on top

simple as that

transformed it around to make it fit

yeah it looks quite effective right now

I just put that one in

oh yeah little thing over there

adding a bit of kind of haze

put in a little bridge

it's not the same thing

the way I made this bridge

is just the same way I make everything else

just Google the picture of a bridge

keyed it cropped it

rotate a bit of it

now if I just bring this in

okay here's the foreground

after that one way going over here

okay so this is the nighttime city

and the nighttime factory which are rented out

just going to merge that on top of this

merge all this on top of here

okay now after that I got this

get a little plant down here

and now I've got a little branch over here

which I've just uh

pre multiply put on top

so the composition now

is really starting to look interesting oh yeah

and then I wanted to add some nice poker effects

uh so I found

quite a nice little effect going on with this uh

from this image here

so if I look at this for a second

k so I got some different colours in here

which is actually gonna make the create

make the vocal look more interesting

cause it's gonna pull parts of the red

and parts of the yellow out

and actually turn it into nice shapes

which is exactly what I want

so I wanna reform that to the size that I want

doesn't matter if it distorts it

cause it's gonna be abstract anyway

what I'm creating

so I had the Illuminati get rid of parts of it okay

and then I created my simple little hexagon right there

and then with the convert tool

there you go

so I got some great little uh

uh chromatic

that's right

uh little Boca effects going on here

got some nice clear shapes

it's a bit messy in there

I'm gonna wanna go and delete some of that

so if I just do this for a second

so what I wanna do is delete everything apart from

um you know

some nice clean shapes

and they're the ones I'm gonna work

primos plant on top of everything else

so here you go

transform that around a little bit

that fits on top of the actual picture

maybe delete a couple more

and what I've got over here is just another image

I wanna add to the foreground

actually you know

just in front of this poker

so I got the same image

which I used many times

and Primo as a reform after that

prime after that

same as after many times already on this image

and then after that

I transformed

I kinda separated it

so I've got

I transformed over here

and I deleted

uh this side

I'll see once I kinda deleted this side

and then I transformed it again over here

and then I deleted that side this part

just so I can create like a nice little shape

go on this side and then on this side as well

transport a budget over a little bit and then grade it

make it darker

get rid of the saturation

blur it a lot

and then on top of that

I'm merging the Boca

okay so I'm creating fairly nice kind of abstract um

little dots

lights but again

it's gonna add to the realism of the final image

which is exactly what we're looking for

so if I just put that together

so a lot of these little bokers you almost can't see

if I get back to here for a second

you can see that these are nice

distinctive lights right here

once you merge on top

they're very subtle

they're just like highlights on top of the bridge

that pops some kinda dust aspect on the camera

and then again

I got some you know

nice little Boca again on top of this

a mechanical image

whatever it is in the foreground right now

after that I wanted to

I added a bit of depth

by just blurring the foreground a bit

so you can see I've got

oh sorry pardon me

I did uh I made a little bit darker in the foreground

made a lighter in the background

but again to add depth

um and then I went into the

uh the black

the black and in the image

so inside uh

where is this black point

went into there and I lower the amount in the blue

which basically changed um

the black in the image to slightly

like dark blue

and then after that this is where I did

I did a bit more depth so I got this in

I got this layer again this um

for this rotor note

have a look at that

it's basically defocucing some of the foreground

now I'm defocucing the whole image

because I don't really wanna have a complete yeah

a lot of these photographs were really crystal clear

when I got them

and I wanted to

uh blur them a little bit

so inside the defocus node

I just change it to 0.2

simple as that

and then uh

again I'm adding this uh

chromatic aberration now

so if I look into here

where it says shuffle k

so inside the shuffle mode

I've separated it so that on the left here

I've only got uh

the green and then the blue

and on the right over here

hence this is the bottom script

so on the right over here

I've just got the red caps into there

if I disable that for a second

the transform

now inside the shuffle copy

uh into the one input

I'm keeping the green and then the blue

and then the two input

I'm keeping just the red

so once you merge it back together

you're creating exactly the same thing as what you had

so if I view one there and two on there

shuffle copies bring everything back together

now inside the transform

what I've done is that a very simple

very subtle little touch

uh I've actually just added one pixel to the x

1 pixel to the y

so transform it up and across a tiny bit

and then I've actually rotated it a little bit as well

so now when you look at the image after this and zoom

it really close

20 part of the picture

you'll see now

the green on one side

the red on one side

and actually

it's kind of

because it's rotating it from the middle

if I view towards the edge

in theory you should see a little bit more of a change

uh as if uh

then there is no middle

but you'll still see a little bit of a change

in the middle as well

because it's not just rotating it

it's moving it up and down

so again very subtle little touch

this chromatic

uh aberration

and then after I added some grain

I literally just uh

typed in grain

simple as that

I'm not you know

in a previous uh

chapter I've explained how to regain something

to get the exact effect that you want

but for this

um all I wanted to do is just add a bit of grain

so I typed in grain

and I left the settings

pretty much exactly as they were

and I viewed it

and there we go

so there's my image

now with green

now there's one more thing

what I wanted to include is uh

I've got a tiny little fire here

it's minuscule

but it creates a nice little effect

it's constantly going throughout the whole shot

so what I wanted to do

is also show you how to retime something um

very simple

but the problem is

is that the shot that I'm doing

I wanted it to last for about 25 frames

so you can see the scan at the sky

so they slowly panic

cross and um

but the problem with my shot

is that the frame range

only goes to 365 k

so if I look at this for a second

cause I got my cool looking flame here

but if I go past this amount of frames

it's gonna be static alright

so I wanted to continue throughout the whole shot

so if I just got a time offset

so if I had a time off set

okay so this shot

I know that it finishes at 365

okay so inside the time off set

I'm gonna say

I wanted to start again from the beginning

but a three frame 350

so that's why I put into the time off set

and then as dissolve

I can see I got two key frames here

I'm gonna zoom in for a second

okay so where I wanted dissolve

basically to go from this one into this one

so on this frame

okay it's basically the dissolvers

looking at this image

and by the time it goes to

there it's reading

I've knew the new time offset

and then that just about worked enough

but it still made it cut out

after the last of the 50 frames

so what I have to do is oh sorry

okay it's still kind of cut out

after about this many frames

you can see like right there

it's not really moving

so I did the same thing again

um so I had another time offset

so this one says okay

start the whole thing again at 670

and it dissolved back into the same way

so this one's feeling to

this one's feeling to there

and there you go

so the two images are all uh

working together

so now the whole thing

runs for this whole amount of time

okay so that's uh

as simple as that

okay so now you have the whole image and there you go

oh yeah um so you know um

I was experimenting with different kinds of backgrounds

um and originally I made this image with the blue sky

which I think it still works well

so just view this for a second

okay so originally I made this image with the blue sky

um and then after that I realised that you know

this grass is kinda slightly sunburnt

um almost like a desert where it is a barren

kinda barren desert image

if you Google that

that's what you got

what you gonna find something like this

so I thought I'd sort of you know

make it look like kinda dusty uh

deserty sky

maybe like early morning

something like that

so I found this image um

uh from a company's website called Hyperfocal Design

and they've been kind enough to let us use this image

so um uh so I literally just plug the same image uh

sorry hold on 1 second

k so all I did was plug uh

change the uh

the input for the sky from one to the other

alright so what I was just explaining was uh

how you can change any part of the picture

at any point that you want

and even the background

is something as traumatic as that

so you know

literally just went simple as that

to that different picture

different background

it changes the whole overall look

now something else I wanted to add

just about this

cause you know you can

you live when you learn

um I tried to animate both these different backgrounds

and exactly the same way

so if you look at this one

alright so if I get a frame one on this one

and you see that it does rotate

and if I go to the same 750 on this one

k so you can see that this

it does obviously move

if I do the same thing on this one

k exactly the same transformer

just copy and paste it there

so my frame there

and turn 7 and 50 on that one

okay the reason I'm showing you this

is because on this image

there's a lot more texture in the background

and there is in this one

okay this is very

kinda blurry uh

and very soft

and also kinda linear

this lines going to this way

you know as opposed to this image

we have you know a lot of detail

right so they both look nice

but the point is

if you transform this one across

over the period of like 25 seconds

cause it's moving slowly

you're not really gonna see it move at all

it's gonna be so subtle

that you almost can't tell that it's moving

uh whereas this one

you transform the same image over um

over the same amount of time

in the same way

are you gonna see a big difference in the moving Kay

so I just sort of uh

give you a bit of a heads up uh

just in case

you transform over this brown square image and uh

see that it's moving

alright then Kay

that's it so uh

I guess this is uh

wrapping it up

um hope you enjoyed the tutorial and uh

hope you'll go ahead and um

see you in the next tutorial

what time is it

what's the time

what's the time

what's the time

what's the time