All language subtitles for Nuke 102- CLASS 8- Uber Keyer Example_ Goggles Man

so this is what I called Mover Kia

my name is Matt

so I decided to put Uber with Matt

and this is a combination

of Kias that I picked up in the industry

combine with my own little tweaks added to this

now I wanna preface all this by saying one thing

some compositors are not fans of this type of network

when it comes to setting up their keys

one reason being is there's a lot of pipeline here

as you can see

we go down the pipe

and as we do that

it can start to bog down the final result

which could take forever

now if you have a fast computer

then you're fine

but it is a heavy

heavy network to go all the way through

um which eventually occurs

regardless when you start to add in CG and so forth

but during the process

you would obviously

pre render out at a certain juncture

and move down to avoid the

waiting forever for the scene to refresh

um again the techniques I showed you earlier

are usually the preferred kind of basic techniques

the difference with this keyer

compared to the other keyers

as you can see here

we have our core Despill

Edge Despill

Core Mat Edge Mat

or called Fringe Mat

we have our denoys

I have this really cool thing here that we're

not gonna have in this example of the Uber gear

is the foot shadows

um which I'm gonna

talk about later

when you use the red channel to any any

any scene that you have

a scene where somebody's feeder actually contacting

the green screen floor

you can actually key out their actual shadows

um here's the backdrop coming in

here's some regrain

the process here

you can see I've added this alpha

clean up pre copy

and then paint clean up

post copy here

and the color correction work

here's where we have a high post

um which is a certain operation

to blend the background with the foreground

and then we have our color grading

any transforms we do to our actual object

and then we have our edge extending if needed

then we have this

which is the big enchilada of this whole thing

we have been fighting back and forth obviously

with trying to deal with

the edges of our character to match with the backdrop

while this little network here

actually does a great job of

using the d spill information

as a sort of mask

to bring in both positive and negative darkening

and lightening values based off your background image

and basically

color corrects the edge of your actual character

this is really an incredible piece of work

um it's been a technique used a lot

Tony Lyons uses it

um you can check out again

I'll link you up to his uh uh

his YouTube channel

I would highly recommend going through

all of his training

he is the Uber king

I should say

of of keying

definitely training worth

and it's free

and he's been really cool to kind of put this

um this again is a little bit more of an extension of

a lot of different techniques

and then there's the sharpening

which has a specific workflow

and this is optional right here

um there's the G wrap and the light wrap

talk about that again

this is like a gizmo

and then we have uh

this work for in this

this is this is uh

particular to this scene

uh because this scene is actually Jack um

if I go ahead and take a look at the final image here

this is actually Jack

looking in front of a sunset here in the backdrop

so this is where an example

I wanted to show you this

where we can actually go in

isolate out that sun

you know where the most intense

places in that

and create a extra

extra flare

so to speak kind of

kind of blending in as his face is in front of this

because it's a very bright scene

is going to do a lot of light wrapping

more intensely than any other area

and then of course

here is this

something that you commonly deal with

which is Glinson sparkles

which can be used to simulate sun flares

from which you can go ahead and blur and grade

and so forth

and add into

um the image

again I don't

I don't have that enable

but I want you guys to just

absorb this stuff and jump into it

and then I also

added a context sheet here

so if you see

if I pull this contact sheet up

you can see this is just a left and right view

so I can kind of

hit H to full frame this

and I could look at any detail that's been lost

or maybe there's still some green in his hair

hair that I need to kind of

isolate and take out

um did I lose

for instance

these whiskers on the side where Jack is

you can see they're kind of

carved off here a little bit

so do I have to go back and get that

um and again

how is how's this area working

and so forth

and all the little holes

and all the little hairs

and so forth

what am I losing from the original versus the

final output

and then I also have a couple things I've added in here

along the lines

is this core versus edge now

so sometimes it's good to see

the overlap of the core versus the edge

and here you can see in this example um

I basically shuffled out the core in the red

as a red channel in red

and here you

can see the

actual fringe

matte in blue

and then they

get merged together

and I add an expression

to cancel out

any areas that are

basically it

so obviously

when you you know

take blue and red

you make purple

so that's what

the overlap is

so if for example

the core was actually going

outside of its area

you would see

red out here

and red would mean

that's a no

no because the core

shouldn't be touching that

and then you gotta

ask yourself

how far can

you allow the core to

kind of move in on

the fringe mat

which can adjust

your road settings

so it's good to have a visual representation of that

as opposed to guessing and going

why is this issue here

do I have too much blur on my core

is it over extending itself on top of

the fringe mat

again these

are things that

you definitely wanna keep in mind

as we kind of go through this

so uh partly this is

somewhat set up

I don't wanna spend 20 years on this

cause I'm telling

you right now

keying and one of

the reasons

why you don't

see too many tutorials online of

people actually doing keys

is specifically for

the reason that

it just takes a long time to do

and they just

don't wanna sit here with 20 hours and doing

especially when

the shots moving

so let's go ahead

and just go through this

basically one step

at a time so again

we're gonna start at the top

and move to the bottom

and go through

the whole process

so obviously

we start with

the actual green screen footage

so let's go ahead

and take a look at that

you guys have seen this before

I'm gonna go ahead and

choose a frame that is

particular interesting to the shot

so I'm gonna

choose frame 26

and I'm gonna strip this down

and you know

go back through it

so let's go down the pipe

um this way

obviously this

this moves over to

if there is

any ground shadows

when you know

we'll get into that in a minute

but here we have Jack

and we're gonna come over here

we're gonna create a

couple channels here

so the first

one is we're

adding a channel that is um

you can see

just go ahead

and throw it in here

adding a channel

this here is a copy

so what we're doing is we're

copying the

RGBA red information right

we're looking at here into something called GS Red

GS Green GS Blue

so you can kind of look at this as your original

so if I put my viewer to the copynote here

you can see we have this GS

which is just the original

cause later down the pipe

you might just wanna

instead of putting your viewer back and forth

you can switch between this and your RGB

and see the difference of progression

as opposed to putting your viewer into two inputs

like the original one back

so it's just basically copying an extra copy

of this off to the side for you

next we have this here

which copies the red green

blue information into a new channel called GS Reduce

okay so that's another channel that's been sort of

and the information has been copied into that

so again if we put our viewer here

you can see we have GS right

which is the same plate

and we have GS reduce

which is the same exact thing okay

so newly created channels in this whole process

so moving down here uh

we're gonna talk about the edge de spill

and the core de spill here in a minute

but let's talk about the denois

as I talked about before

professionals will have use neat video

so instead of this d noise here

you'll actually have neat video

and neat video

will be in a switcher node

you'll actually

the first thing you do as you start to do your keys

is you'll basically pre render your footage

in the form of EXR or DPX

out into using the

very computationally expensive neat video plug in

which will do a nice job of

kind of taking out the grain and noise

but in the process keep it sharp

and in our case

we don't have that plug in

it's 300 bucks go spend

it's best money ever

yeah I did I'm planning on investing in it very soon

usually I just let the studio pay for it obviously

but you can see if

I just kind of look through the d noise here

just double click it

I'm sampling this area

I could sample another area

let's just see the difference here

you can see

the granularity clean up there

okay so this gets written now

and you can read right out this as well

if you want

and then you just take the right node

and turn it into a read node by clicking here

and it'll feed in whatever

wherever you saved off your file at

so then you just hit this switcher node

switching from 0 to 1

right so now you're not waiting for

the neat video to calculate every frame

you have it pre rendered off

which is very

very important

so usually you always pre

you always render off a version with

you know just the degrain version for the sake of

speeding up things

okay so let's talk about

kind of moving down the pipe here

let's talk about say

what we can jump into the format shall we

now you can come in here

especially in the format and get away with using the

screen clean

I talked about that before

so go ahead and click on the screen clean

and I'll go ahead and you know

turn it off and on

and honestly

I mean it's affecting these areas up here

brighten these up

cause this is a tricky area up here

cause this area is very

very very very dark up here

especially with the fact that there's a silhouette

naturally occurring

so I can come over here and click this color

and sample this area here

and you can see it's brightening up this area screens

trying to it's trying to

universally blend or

some diffuse out the actual green screen

it is a synthetic process

which is affecting the edges by the way

in a negative way

so you can see it's adding a little bit of a

a line there see that line wasn't there before

now it is and we're losing this nice juicy

motion blur this is when like I talked about before

tampering in God's domain

you're fiddling around

now this is actually a hole here

seeing through and here

these are gonna be

the problem areas that we have to deal with

but we have to respect that they have to be keyed out

so you can't just blow these things off and say

whatever and I'm not gonna key that

I'll just let it blend into the background

and color it black or something

you can't can't do that kind of stuff um

our biggest challenge is just looking uh

off the bat

of course it will be these highlights

these are gonna be a big issue um

Jack's reflection on these specific goggles that

the actual reflection of the goggles will be an issue

the more reflective anything is on a character

the worse off you are

the darker the stuff is the better

the brighter or whiter this stuff is

the more reflective

the more chance you're gonna get spilled

the more you're gonna have to deal with those areas

so I went ahead

and use a screen clean in this circumstance

because I'm not worried about having a perfect

edge on my character

by the way this is gonna be the very nasty format

which is very crunchy

and very sharp

it doesn't have a fall off we

don't even have to worry about respecting motion blur

when it comes to this

so I'm gonna go over here and jump to my prime at

and I'll go ahead and put my viewer to the prime

at node here

and you know what

let's just throw these nodes out

and just make them fresh

now if you are using the education version of this

you don't want to use prime at

I would definitely use key light

so if I was doing a key light version of this

and I'll show it to you

because some of you guys are using the

non commercial version of nuke

which does not include prime at

so um the key light

I can come over here and just click my screen color

right click here

hit a for alpha

ramp up screen game

just as the hair

go to my screen Matt

clip the whites

or clip the blacks

clip the whites back

really strong

really really close

and then if I need to

um don't do much dilation

dilation is

is dangerous

you also do a screen softening if you want

just to give it a little bit of a soft edge

slam your gamma

make sure there is no Swiss cheese holes

as you can see

there is Swiss cheese holes in this case

can you fix that by you know

bringing back the weight

even bringing it so closest to hair is

still not solving the issue right

so you can see if I just take my screen white

I can drag this back until

the holes are filled

but then there comes a point where I

can't deal with these reflections right

the clip black

you know cleared itself up pretty

pretty well right

so here is the difference

as you can see

and you can go with that

now to fill in these Swiss cheese holes

if I go and take a look

and just go ahead and sample these areas oops

let me go ahead and jump over here

and close this

and just sample these areas here

you can see the value is point nine five

so it's still

it's not a you know

it's it's still something you got to take care of

right so again

you can do paint

brush work or

in this case

we can do a grade

and we can set this grade to alpha

and I can go ahead here

and let's take a look here

so put this back here

so we still have these transparent issues here

and actually let's not use a grade

let's use any road or road filter

and again I'm just going to allow this to dilate by

I go I could just use a dilate but I'm gonna use

a real fast cause the opposite direction is a dilate

so if I take a look now

you can see it's dilating it in

alright so here's the original

here's a new one

if I go ahead and play around a little bit

you can see that I can dilate this end very easily now

as you dilate

this is danger zone

cause you can create webbing in doing this

and what I mean by that is it's gonna start

merging these edges together

take a look um

you can see this certain emerge

this to this

and this if you apply or uh put your edge mat on this

you can create webbing or areas here that

are being used out so

roads are tricky and you got to be very

very careful with these guys

I would actually

maybe do a animated road over there on those highlights

negative tens

pretty intense like I said

so if I come over here

I'll just put it in negative 10

just so you can get an idea

and then from there I would do another e road

and this time pull it back

so again I'll put this

so if this is negative 10

5 I'll put this into value

um you know

let's go to 10

5 or something

let's go to like

yeah let's go to 10.5 in the opposite direction right

so here's this

the push out

here's the string back

let's see the difference

between the two right

see how there's a little bit of a change in that

this is coming

uh you know

there's a little bit of a difference on the edge here

not too bad

so I'm gonna go ahead and take this and

pull it in even more

and then I can also come in here and just add this

feather or something

so you can have a feather

or if you wish

you can use the blur

this is the

feather that again

I'll put this to zero here

and try to play with and pull this back out

there we go

so I can this can

this amount of feather can be

in the positive or the negative direction

so if you feel that you wanna go back or forward

you can so we're gonna push it forward a little bit

and that for now is our core

now we still have this not nonsense up here

which if we go back to

our key light and crush our blacks a little bit

we'll probably clean that out pretty good

there we go

so that's a good

nice core for the alternative key light

um we're not doing that

we're gonna use Primat

which is again

the favorite because Primat will handle

with those Swiss cheese holes a lot better

and not have us do a lot of dilation

I think the big reason why using a core

for Primat as opposed to key light is to avoid

the need to dilate out and then a rode back in

that's what I assume

so I'm gonna go to the prime ad here

and let's go ahead and go back to RGB

I'm gonna go ahead and sample the background

here we go

and that's gonna put a viewer to that

oops it's first select error actually sorry

let me erase that

I'm gonna go ahead and make another one

I had it under the wrong option

your smart select click shift control Alts

and just click put your viewer to it

there we go

so again you can hold down shift control Alt

try to find a middle ground here as you can see

this is gonna be a problem area up here so

lasso grabbing

see if you can pull that out a little bit

if you come up here

you can see

we grab this area around the hair

you know it might be a better bet

even though you're not getting everything

it's very difficult to kind of deal with those areas

up there in the darkness

so the prime at we say select background noise

and then we hold down again

shift control Alt and Lasso grab

and that allows us to

grab all these areas here like that

and then of course you're gonna slam your gamma

but I'm gonna do that

and you can see all first off

let me go ahead and get up here

I've got to get some of this

this stuff up here by the way

and grab this area

and just gobble gobble okay

so now we're gonna slam our gamma

and now we're gonna be very careful

when we do this

we're actually gonna jump over to our foreground noise

and I'm just going to click little areas first

not gonna do the whole

process where people like to uh

come in here and they like to

shift and grab and lasso grabs of a girl girl

girl like that

and let's see if I can

get away with this by just grabbing and maybe lasso

grabbing just a couple of little areas here

because the more we fiddle with this

you're gonna notice

stuffs gonna pair like if I lasso grab everything

watch like I got it all right

um holding up pretty well

let's go ahead and see our file

you can see we're starting

introduce something back there

so again where this is a three dimensional Keeler

clean background noise

and then go back and see is something that I wanna grab

uh yeah I think I'm gonna grab it

so I'm gonna go clean background noise

so I can grab some of that

the more you do this

the more goofier your edge is gonna get

you're gonna get these

fragments of pieces that stick out

so you gotta be

careful when you do this um again

go back to your original footage and just look like

should I get rid of that background noise

yeah when in doubt

erase into the edge

um if you feel you need to

so I'm gonna go ahead and grab as much as I can

I'm gonna look around

slam the gamma right

looking good

so we wanna make sure we got all that noise

out of there

and we're good to go

so looking pretty good alright

so the next thing we're gonna do is

we're gonna grade this

this case I

I went ahead and just

I don't think in this case

I need to grade blacks any more than they are

so I think I'll leave that at zero

um and then if you have the gradient here

you can play with the gamma again

you can see I have this set to alpha

so I can the

gray the gamma is good at

kind of shrinking the mat a little bit

but it does

as you can see here sharpen it

so be aware of that

and some people will clamp the white and play with the

multiply a little bit to extend it out

so it's up to you

here we go alright

so do you need to um

in this case dilate out

which is a negative one unfilter row no

we don't okay

so that's the benefit of that

so we don't have to

we're not messing with the edge

melting the edge together and then receding it back

via a dilated row

we're just eroding

so I'm gonna come to this E road here

and this is where we're gonna decide to punch it back

so I'm gonna choose about 10 units back here

um throughout this

and then add a feather to this

so you can see there's a feather

and it's a negative feather going in

again the gamma will adjust

the extension of the feather

another great tool

now one of the other things you'll notice in here

if I do the feather

we've got some information here

if I go ahead and see if I can sample these areas here

you see we're getting values

yeah we're getting holes okay

so what's going on there

well there might be

let's go ahead and just poke around here

there might still be holes in here

oh there is

cause if we dilate it

that's when we're gonna start to see something right

so by shrinking it down

this is what we done

we've exposed these holes so again

what I what can I do

well I mean

you can go back to your prime at

and choose foreground noise and just try to

isolate these areas if you can

and it doesn't look like it's doing it too well

again I'll come back to my prime hat here

see if I can grab as much as I can

and let's see if that solved it

alright so we got this and then we got the feather

let's turn the feather off there it seems

let's take a look here

got that we got this

so this is a tricky part and then you might like I said

you might need to come in here

add a filter road set to just a negative one value

to dilate you can also use a dilate here

and that's gonna clean up the little dots

as you can see here

so just you kind of blowing it out to kind of

kind of melt in all the little holes okay

and then finally shrinking it back in will be good

so there is our core

I want you to know

this is interesting little offshoot I have here

um I have the core

uh you know

moving in and going here

um but when it comes to my actual mat

which I'm building over here

um I've got this extra little stencil here

so the stencil

is gonna be used for these areas right here

that obviously got

as you can see

chewed away

we knew there was an empty hole there

so if I go ahead and take a look at my stencil

I've added these

a couple holes to where I know there is

actual real holes

so let's go and take a look

we don't want the core to fill those up

so those are these little holes right here

that I've added

and the reason it was

or get into this

this is gonna be

this core mat

is what's gonna be used as the feathering between

the Core d spill on the Edge d spill

but I don't want this stencil to be included in it

because it'll basically

give me weird results

and I don't want that

so I'm not too worried about that

and that respect okay

so the next step is shuffling this information

to the red um

the alpha channel

to the RGB channel

and one of the reasons by doing this

is by staying in RGB

I can swap very quickly back and forth to my original

just so I can

switch back and forth

I don't have to go up here and go okay

turn itself

you know that's one of the reasons why

we kind of jump into

RGB mode okay

so let's talk about the actual edge mat um

in this edge mat

I find that a lot of artists will try to

as best as they can

avoid the screen clean if they don't need it

but if you do need it

you can actually

you know use it

um the best you can

another cool thing you can do

is you can actually use the screen clean

and actually do a dissolve between

um the originalness

if you wish

which is kind of cool

and you can get

like you can

you can get a little bit of what the benefits are

the screen clean here

but we're not gonna do that for the edge mat

so I went ahead and did a whole

daisy chain version of this

and I found in the process that it actually

didn't help my situation

and daisy chaining

the actual IBK colors is

can be beneficial

for areas like this okay

but here's the problem

this is so dark here

right that if I did get a little sample of this

it would sample a darker color

and not get me a good result okay

so that's why I stuck with

a single IBK color here

as opposed to a daisy chain

you can see the results if you wish

I have it here

I have the two different options

later on we're gonna talk about why

this edge mat has this weird system here

um that way I don't have to literally build

and copy paste this color node

this is connected

these darks and lights are connected to every

one of these darks and lights nodes

so whatever input I put into my master

is actually plugged into these and it propagates down

so we're gonna deal with this later on

and use this later on

so don't worry about it

but you can see

I just gave up on that

and came over here and use the IBK color

from which in this circumstance

I did a 5.5

uh you know

point zero seven on the reds

uh point zero three

and I got a good result again

you can cross compare the two as if it

does it look like Jack got out of the way

you know it does

look at the color there

matches pretty well

see here this is if Jack got out of the way

and then look at the color luminance

it's the same right

very very well done

these these are gonna be a fun issue right here

as you can see green reflecting in the eyes

so with that said

we can go ahead and take a look and I graded it

so I did a little bit of grading in here

to the image

so let me go ahead

and just show you what that looks like

so here is the information

you can see we are losing information

um in the uh

extreme highlights here and areas where there's green

I went ahead and graded the image

uh as you can see here

now the question is

did we lose any information in the grade

I didn't do much of a black point grade change here

point zero one

um but you can see we did maybe lose

a little bit of information

but not a lot

and then the white point

I always like to take it and bring it to like

point nine eight or point nine nine

to help fill in those Swiss cheese holes

you can see

if I look at this

I mean the core is supposed to fill in the holes

but if I take a look at this

and bring it all the way down

you can see

look at all this area that's been kind of taken out

but if I just do a simple

grade of just two values here

right of crushing though the white values

you see it did a lot

it did filled in a lot of those issues okay

we still have this here and this here

and I don't wanna over crank it anymore

so I'm gonna leave that to the format to deal with

so with that

I've also added a key light and again

this is whatever suits your fancy right

so if you go to the key light

off the side

I've made a key here right

and then I've added a roto here for this side over here

in the key mix

because I found that regardless of how

hard I try with the IBK color

the key mix actually did a better job

of actually

keeping the information the best that I want it

including dealing with these little holes over here

so you can see here

I wanted to maintain these holes

so I just did a key

a key light again

the key light is simply dealing with the color

bringing up the gain a little bit

crushing the blacks just a hair

um you know

this might be a little too much actually

I pull that back

and then a little bit of softening if I want

not a good idea

but I'll just maybe put a little bit in there

not much and that gets that

that area is added in here to

so this area was done by the key light

this area was done by the IPK gizmo

again go with what works

don't trust in what someone says

always use this you know

and then I shuffle out again the actually RGBA here

now here's the cool little plug in

I talked about earlier

the core versus edge analysis

this is where I can

we we basically take the core

and plug it into the red channel

and then we

do the edge matt or fringe matt into the blue channel

we merge them together

now you'll notice we're getting some very interesting

artifacts here

so I've added an expression here

which basically says if uh

if red is greater than uh blue

then make red blue

uh value blue to red

so that's basically a numeric value

and what that does is it cleans up all that information

so this is a nice visual representation to show you

uh what exactly is the core mat and what exactly is

the uh fringe mat

and you know

and what is it combines

the combination of both is purple

um the area here

for instance

that is blue is considered to be your fringe mat

and if for some reason as you

what I would do is I would even play this through

and see if you have any issues where you see red

if you see red

that means the core has spilled on over

and I can show that to you

if I come over here to my filter erode here

right and here's where we wrote

if I go ahead and turn that off

actually let's leave it on

it was a 10.5

let me go ahead and take that

pull it out even more right

see if we can kind of pull that out there we go

and I'll go ahead and disable my expression

really quick

you can see that what we had

the problem we have here is this area

um again you can just use the merge or the expression

um at the merge node

you can see if it's gone overboard or out

the expression is gone out

so the red means the core is like an

almost like a warning sign

red meaning bad bad bad

um it is what it is

so again I'll come back to my filtery road

bring this back until I'm comfortable

with where it's at

again I'll look at this with the expression this time

and you can see it's comfortably away

now you wanna stay away from motion blur areas

so there might be an area when his face

his face turns very dramatically

and this is gonna be too close for comfort

in regards to

allowing the core to be there

because it will create this cut off in the motion blur

it look really weird

so this is a great chance for you just take a look

and play through and see if there's an issue over here

under here is where we screen together

the core mat and the edge mat

so this is the combination of both worlds

so we get all those nice juicy details

he is really out of focus again

we come up here

we can sample

this here and we can see the values are still below

uh point zero five

so it's okay to have that information there

now here's where we deal with the garbage mask

which is a combo of

two different types of garbage masks

so the way this works is rather interesting

the first thing you can see

and removing down

the pipe is just a regular roto that you would animate

which is this

if I go to this roto

we've animated this sort of rhodo mask

around our character

right and again

if we come to the blur

we blurt it a little bit right

I can blur it even more if I want

and just to kind of

give it a nice strong edge

and the mask

it's just masking it out

so you can see what it's doing

it's cutting off this information here

so the good news about that is

the infant that this mask

is being plugged in to mask out this from the core

okay so now we're taking the core

here's the core information coming down the pipe right

and coming to the garbage mask

and now I can go ahead and take that

and it's dilated

okay which is

pumped out very heavily

it's blurred

and then it's used as a mask input for this

so this is now the mask

that's used to mask out this

so let's go ahead and see what happens

at that stage

so I disable and enable

you can see it's isolated itself

to a moving dilation based on an off die

an off shoot

or extension out of the original mat itself

you might wanna increase this

even bigger

so you might wanna dilate this even more

you can see if it starts to get too close on your

object you don't want that

so you really

you might have to extend this out pretty heavily

so that it doesn't touch anything here

so you can see

and always just double check

cause this could

might be causing issues here

you'll notice the version we chose for this is not

the one with the stencil

chopped out

so keep that

be aware of that

so um in that case

let's go ahead

before we continue on

um it down here would be the combined mats

everything looking beautiful alright

and then of course

the core mat

minus this stencil process

is being brought into

the thing we show you earlier

which is the exponential blur

which is the mass between the core d spill

and the Edge d spill

so let's go ahead and jump into those two

so here's the core d spill

and again I have your

you know the top hits

of top favorites

Expression Key

Light Kill spill

and of course

there's also d spill madness and so forth

um I might show you guys

Diesel Manus

I do have and I just don't wanna

show it because it won't load up in your

expression that you have installed

so here's the expression uh

the atypical expression that is the favorite

uh before and again

the big difference between the core d

spill and the Edge d spill is we don't add back

the luminance information for the object

for the green information

that was lost only in the Edge d spill

because the edge d spill

I'm sorry the core d spill is all about

the core d spell is all about

maintaining the skin tones and the luminance values

whereas the edge d spell

we can go crazy with

and you know

not add back the luminance information

but just you know

try to match the foreground of the background

that's the whole point

so the Core d spill is pretty straightforward

you can see just

this is the skin tones

and I'm only worried about the interior of Jack here

so if I take a look at it

I go to this hue correct

and I've added this little mask here

which I'm not sure

might have been under a different frame

but if you take a look at his skin

do you see anything that might need some work

like maybe underneath his

actual I uh

this little

this area right here might be a little bit too green

or something could be yellow

you know but you know that you can sit here

and maybe I need to kind of pump out some green

so here I added

the hue correct

and did some green suppression there

and you know

how much do you want

you take too much out

it's gonna it's

you're gonna move away from the yellow

the golden orange

yellow right

but if you feel that there is some green tinge in there

which you can see here there is

you can dial this

just before it starts to

it kind of loses its green

uh complexity here

and then of course we do the minus here

so there it is

and here is again

this is only for the core saturate

desaturate it

and you can see we plus it back in

so now we have maintained

the original luminance of the character

so if I go before the cord e spell

and here at the finish

and I zoom up on his face and I

hit the letter y to go in luminance mode

you can see

there hasn't been any change in luminance information

this is uh this is basically

keeping the skin tones

okay so with that

let's go ahead and jump over to the

rough and tumble edge de spill area

where we're gonna play around

so I use that wonderful expression again

which kind of gets me

started again

you could use key light if you wish um

you can see I've also done a key light

for a specific area

and I wanted to

get that sort of nice orange complexion there

and I've key mixed it in here

and in this case

my mask is over here

so the question is

what is this being used for

well I found that his actual

chin here and again

in that when you're dealing with the edgy spill

you're worried about the edges

you're not really worried about the interior of

the character

and you can see he's got this weird green

like thing going on with his chin okay

so this can have

this has a lot to do also with

you know the expression

um but if I come in here with the alternative

and this would be have to be tracked in here

um you can see I can kind of get away

with dealing with this here

it's gonna be very tricky

um again I can come to my key light

and just play around the key light

I can change my alpha biased up a little bit

start to pull out that green before it turns into

you know reddish purple

it's gonna be very tricky

I can also use a hue correct note

so that's what I did here

and I've isolated it to this area

right here on his face so again

I might wanna pull this out

this was probably a different frame that I used

through the process here

but you can see what we're doing um

you're doing spot checking on here

and you're gonna have to track the stuff in

maybe track a portion of his face

or if his face is moving fast enough

you just be very careful with your animation

so you don't get

swimming of changes of color correction along

the edges of his face

um and then of course

we minus this information out

to show us the areas that

are gonna need color correction

we add this expression here

which basically

clamps the max values of RGB

just to be safe

and that gets copied into

the d spill channel that we created earlier

remember we created this

um channel for d spill

so if I put my viewer to this

and take a look to my d spill

we flooded this r information

cause we only need one channel to do this

and this information is the area

that has been d spilled

or the green area

this will be used later as a mask

to add in the areas

where we want to blend in the background

now you gotta be careful with that

because you can literally

if we put the sun behind Jack

and we did this with the process

I'm gonna show you later on the chain

you would actually see

um actual sun

you know the edge of the sun here in his face

so you might have to blur the image a little bit um

it's a way to marriage

both the background plate and the uh

the foreground plate and the background image that

you're gonna be putting on to this

or the back plate or the

backing region

whatever you wanna call it um

so I'm gonna go ahead and jump over

back to RGBA here

so we have our work done

and of course

I have this

filter erode

I'm just show you um

this is the core

go back here

this is the core

minus the stencil

and I do an exponential blur

and blur it

which is a log

rhythmic blur here

key mix it in

and what you get

is this you have

we maintain the original uh

you can see the color correction break going on here

the original

luminance values

here and at the same time

we managed to pull that green out of his

beard which is

along the edge

so we have a good d spill um

but it's not perfect in

as far as matching the background

the background is all red

and this is white and bright

so uh what are we gonna do about that

well the next process

and I'm gonna go into a further tutorial

about how we can

use this thing called the Alpha Paint cleanup

and so we can use Roto Paint tools

I'm gonna disable this for now

cause we're

not using it

but if you did have an area where Jack

was moving across

a actual piece of uh

uh like a black line or something in there

that was keyed

maybe like a black Mark on

the green screen behind him

you can actually come in here

and paint the Alpha out

if that doesn't work

and the actual

image is too

embedded into

the color information

you can go past

the copy information

where we take the

RGB information

and marriage it to the

new Alpha Fringe

Fringe mat or

the mat itself

final mat and

you can use an RGB

based rotopaint node here

or RGBA work

which not only

will paint the red

green blue but the

Elf information

uh to paint out that

little Mark

or you know

black Mark that might be pushing into

his actual skin

I'm gonna do this with

the demonstration of Stirling

as he runs across

the green screen

so don't worry about it

we're gonna

get into that

then comes a process

of your color correction

now most compositors will

use this technique

I kind of talked

about before

which is if

you kind of

hover over it

this is called a

hypo diagonal square

square root

and what that does is it takes

what you do is

you take a constant

just throw a

constant in here

right and you color correct

you just grab

you know like

sort of the darks

of your actual

background plate

so if I go ahead and

let's go all

the way up here to

the sun here right

so here's this sun shot

let me go to the final

image that we're gonna be

compositing

I can come in here

to this constant color

click on here

and maybe just sample

something like that right

so I get this kind of pukey

kind of brown

and if I go ahead and merge it

you can see it's pretty dramatic right

it's only affecting

it's staying away from the highlights

but it's basically affecting or it being added into

the actual shadow areas so how

how crazy can you get with this

well the grade node

you can come in here

and start to crush this away with the black point

and then slowly introduce it

so you're getting this sort of coloring into the

actual shadow areas

so besides adjusting your blacks and whites

um and color grading via a grade after this

this helps tremendously

and kind of blending to the background

if you have a transform

here's where is the time to do it

so you could add a transform

you wanna move Jack forward or backward

we can do that

now comes the edge extension

these are just examples

you don't need them in the

not particular to this example

but you can see how

we can have certain areas

and I did this in the last lesson

how you can do edge extension

per area if you wish

I have this other general overall edge extension okay

this is this is like a sort of a per area work

you do multiple edge extensions by the way

and this is a nice little test setup that I did for him

so let me go ahead and just show you how this works

I'm gonna come over here to

the finished product here

and if we take a look

I'll do the premult test so you can see it

so this is basically premults

this is just a premultification

this is the same thing I showed you in the last lesson

except this is really cool

I've done a little bit of

color correction work on the line

so if I put the smear line in here

this green area is

defining the edge that is actually going to smear

so I can visually have a

I could have a visual representation of what's going to

smear outward

in the normal direction

so you can see here

I can see that this is gonna smear out

where am I gonna have issues around sharp corners here

where you have like v shaped corners

those are the areas that are gonna get fishy

because this uh

mustache is gonna come down

and maybe blend into the actual bottom lip

which make it make no sense

why would the bottom lip be actually brown

so let's go and see how that works

I'll turn it off and on

and see here

actually I'll just put this

the premode and I'll turn it off and on

so you can see what it's done

it's extended it out

but this still doesn't solve the problem of the edge

it does a halfway decent job

and I've done it extremely conservatively

you can see these are very small numbers right

it's giving us a slight blur along the edges

it's done a little bit in fixing this gradient here

that would be motion blur or depth of feel blur

and here this might be a little bit overboard

because we're starting to get into blurry land right

it's a little bit too blurry

so again I can probably clean this up a little bit more

I can extend it even more if I want

um the pre blur amounts

um I can increase that

but as I do that

I'm gonna start to get a streaky blurry edge

so let's see if we can kind of

and see you pull this

you know just play around a little bit

add some splices

see if we can kind of get that going

there we go

so yeah you can see how this is basically

something that we can either use or not use

it's gonna be very difficult to deal with so again

the question is

maybe we should just not use it at all

so I can go ahead and turn that off

we still have our

you know silhouette of a white line around Jack

you can see it over here and here

and you can say to yourself

what do I do

I mean I don't want that

and you know

I tried to fix it

say over here in the Core d spill

or in the Edge d spill

and I talked about how darkening

taking a bright

obviously when you shoot in front of a green screen

and your actors in front of a green screen

the background image of the green screen

because it's the green channel

is gonna be very bright

so to color correct

the Edge d spill okay

to have a darker background

can introduce a lot of noise values along the edge

so it's very difficult to do this right

in your animating rotos to match up with the face

well one way of

really taking care of that problem is this real cool

background d spill edge blending

and what this is going to use

when you don't realize is coming down the pipe

if I put my viewer here

coming down the pipe

is the wonderful d spill information

and this is the information that is the edge right

you can see it

we're going to use this as a transparency

to bring in the background image

to brighten up where it needs to be bright

and darken up where it needs to be dark

so that is a pretty monumental task

but this actually takes care of it

so let's look what's coming down the pipeline here

so we have our

actual sun here right

let's go back to RGB here

there we go

and make sure I'm in RGBA

so here's the sun

we grade it

we reform at it

we add another gradient

we defocus it like crazy

cause he I think Jack was shot with a 2.0 F stop

so that that should be a very blurry background

if we're considering the uh

rules of the

you know deep focus and um

all types of realities of Boca and all that

so again there's other

there's better plug ins and so forth for that

so here is the background image

and that goes in

and I decided to blur it a little bit

um you don't have to blur it by the way

but you I like to blur it just a little bit

um fact that's a little bit too much

I'm gonna blur it even more 14

and then I'm gonna go over here

and there's this thing called the grade

so you can see what this is

is I'm grading this information

and you can see this grade specifically

um has black clamp and white clamp turned off okay

very important

um because we want positive and

values outside the normalized range of 0 to 1

so if I put my viewer here

the dark areas you can see have a negative value

and the bright areas have an over positive value

so they're above 1

that's what you want

that's definitely what you want

um and by fiddling with the black point

and the white point

you can do that okay

so let's go ahead

and jump over here to the multiplier

and I have an additional one over here just in case

so you have this

in case this gets screwed up

you can just take this and throw one in there

you can see all it is

is a unclamp to black clamp

white clamp

so um actually

why don't we go ahead and just pop that baby out

and let's go ahead and just take this guy

and pop them in

so we're getting a fresh start right

so let's go and take a look at the values here

the darks are not in a negative value

and the brights are not really in a positive value

they're coming close to 1

a blue has a positive value or a value greater than 1

so these values should be greater than 1

and the dark areas should be

uh actually negative

so the way you do that is by

fiddling with the black points and the white points

with black clamp and white clamp turned off

because this is what's gonna drive the darkening

and the brightening of the edge

now a lot of what you see here is like

what I call unnecessary um

there's a little area here where it says

you might wanna desaturate

uh the d spill to avoid unnatural colors

I get that and then you can desaturate

that from your plate or whatever

but you can see here

this this is basically

kind of a working and tandem with this

but here's where we actually

this is where we

shuffle out the actual d spill information

and then we remove all the channels just to

save ourselves the calculations going down here

so you can see there

is no real extra channels um

and then the

we grade it

you can see here

you can do if you want to

you can just

the d spill amount necessary

gets shuffled again

there's some grading additional

and then you can desaturate so

what this is doing is taking this area in the white

that would be

obviously there is the d spill

I can come over here

the saturate

desaturation here and set to zero

so you can see it's desaturating

these areas

and it when you desaturate these areas okay

it'll work better with this

this plus here

which will involve the actual you know

blending in the background image along the edges

so it's recommended

but not always needed

to desaturate

as much as you can around

you know those areas

okay so finally

let's get down to this

which just basically is moving down this pipeline

so just imagine this

ignore all this here

just imagine this is coming down the pipeline

this is by itself right

so you can see here

um this gets multiplied

upon this right

so here is your

actual information

which is your d spell

gets multiplied by

the image that you've color corrected here

and because this is dealing with positive values

you're not gonna really see a visual

visual representation of what's going on

to a certain degree

and then that gets shuffled to your RGBA

and then this gets plus over

so as of right now

this may look a little confusing right

but it is what it is

it's actually blending the edges in

so I really don't wanna look at uh

this over here

I don't wanna look at the backing region

I wanna actually try to concentrate and say

let's start right here

right by the chin

and at this point

I can go into my grade here

and as you can see

I start playing with the black point

you see how as I increase the black point

it's flooding the information of the

into the actual edge

isn't that awesome

if I go too overboard

I get these nasty

oversaturated colors

so I'm basically just introducing a little

bit in there

okay like that

and then I have my white point

which if I come over here to my

these values here right

if I push that

see how the brightness is being

is going into his mustache

I'm gonna bring that in just a little bit

so let's take a look at this plus

with and without

the color correction

now we went

may went a little bit overboard

but let's face it

when you're dealing with very bright backgrounds

they do flood

over and actually spill and um

kind of push over the edge here

that's just the way it is

so if you take a look at this plus

okay versus the original plate shot

it's getting pretty close

right let's see

how we're dealing with those pocket holes over here

so let's go ahead and just take a look

so I go ahead and jump over here

and let's go ahead and take a look

so I go over here to the final plus here

and it's not grabbing a hold of these areas now why

well if we come to our grade node

you can see

why that is right

now the reason being is it's basically masking

there should be little white areas here

so why is that the case

well probably has to do with something we maybe did

let's go ahead and go all the way back here to

our edge man

so we do have holes here

but they're so small

as you can see

so in the next lesson

I'm gonna show you how we're gonna fiddle with these

we're gonna deal with these

we can see the elf edge

it's it's barely there

and that is the reality

and that came forth in the d spill

remember the information was printed here right

if we take a look at the d spill

let's go ahead and take a look at it

this is it right

so here it is

right this is

this is the information

you know if we're taking a look at it right

this is what's been defined as quote unquote

the d spill

and when we get over here

come all the way down the pipeline

and we shuffle it out

there it is

so there's a d spill

the reason why is something happened to those holes

somewhere in the pipeline again

this is where we can kind of backpedal and find out

so I'm gonna go ahead and backpedal

I've got descent to d spill and somewhere down the pipe

this actually got blended together

so I'm gonna move back move back

keep moving down the pipeline

this is very common

uh kind of like diagnostic work

go to the copy node and then come to key mix node

and now if I come back to the edge d spill

this is where we built it

oh look there it is

what happened

well go to the key mix

the key mix is set to key mix all channels

we do not wanna do that

we just wanna have it affect the RGBA

so now we are maintaining down the pipeliner

those holes right

so now when we come to this merge

right let me jump back to my RGBA

now those holes are actually being affected not by much

but they are being affected right

now the question is

can you come in here and do an isolated grade

like we can maybe do another grade here

make sure we have black and white clamped off

and I can do a roto for this area here

and what if we isolate to these areas here

so I mean real sloppy here but I just wanna show you

and I can come over here and push these areas

see that I can push those areas more intensely right

just kind of fiddle with it and obviously add a blur

so add a blur to this

and just blur that edge a little bit

now obviously that's a little nasty

but again you can see how this is

basically taking care of all of our problems almost

we still have an edge blur

which I usually only put maybe

two or one pixels on and not too much

but look at that

look at the pre multiplied reality

now we've got all those beautiful edges in there

matching the background

it's incredible

okay so the sharpening

let's talk about sharpening in here

and again if you're a little bit confused by this

don't be surprised

um I'm gonna go through it again in another demo

so don't freak out

um so let's talk about sharpening

so here's sharpening

now we are currently in a pre multiplied position right

so what we have to do is I like

you don't wanna just sharpen the image

you don't wanna unpree multiply it

sharpen it and then pre multiply it

because you're gonna get weird artifacts

so one way to get the image sharper

through the degradation of the uh

non existent contamination during the process here

because you can see if I put my viewer here

and I go back to the original plate

which we should always do

we have lost some quality

very little

but the image has been slightly blurred in

all this work

okay so we need to maybe bring him back

or maybe the characters out of focus or something

and we need to do our best

again we're tampering in God's domain

um we are not allowed to get too goofy with this

so what this does is it dilates the edge

in a little bit

so I have a dilation

as you put this dilation set

the negative 6

which is basically in a road

it rodes it in

blurs the edge

and in this case

we sharpen it with this based off of a mask

so the the whole image gets sharpen

you can see if we kind of

look the viewer here

this sharpen is

I don't think there's any sharpening in here

see if I can take a look

I think there's a little bit of sharpening

just a hair

so you can increase this

but obviously

the more you increase sharpening

the more due to the matrix that is it is

you'll get these black edges along here

right which can cause weird artifacts

so I you know

let's put this maybe up to two pixels if we feel it

I only think we need one pixel for this

because Jake's pretty

pretty well established

this basically is kind of a retreatment of the original

footage here

just by sharpening out just

just a touch if you need to

doesn't matter

but it doesn't sharpen the outer edges

so there's no sharpening happening out here

let's go ahead and just show you

put my viewer here

there's no sharpening out here

but there is sharpening going on in the center

okay so now that we've done that

we add a G wrap

what the heck is a G wrap

well this is a plug in slash thing you can get off of

uh Wikipedia

um I'm gonna go into a further example is later

but color bleeding

um again it's using the background um file

so you can see it's feeding this background input

that's coming down the pipe

into the background

and we have this set to a mix

such a low value

but it gives it a nice little touch

it kind of washes the background

I'm gonna do a demo this later

but it washes the background over the foreground

does a little bit of color bleeding

you can do a whole bunch of it if you want again

let me take the mix and bring it up really high

so you can do that

then there's an overall wrap

and then there's an isolated luminance based wrap again

I think I'm gonna go over this later on

I wanna do a whole little tutorial on this

cause we're already at the hour Mark here

for this video um

the light wrap is just your atypical light wrap

we talked about the light wraps before

if you haven't seen a demo of them

all they do is

again I'm gonna do a whole

this whole area

I'll do a whole demo so you guys don't freak out

so it basically creates the areas that are

obviously in the real world

when you are

behind the sun

someone takes a photograph

you and the sun is basically on your cheek

um in this case

same thing with the Jack um

the light will wrap more around your object

dark areas will not wrap around your face more

it's just photographically the way it is

so this takes this information

obviously and pluses it over

so we can go ahead and take a look

and it's increased a little bit more information here

you don't wanna go too overboard with this

I usually keep it very low finally um

I'm gonna talk a little bit about these pieces

these are extra bits

they're not necessary

but they help in the comp

so what this is

it's a luminance based uh

system here

where we're keying the luminance information

so you can see here

I just pulled back the information and grab the sun

I've eroded it

I've graded it blurred it

create it again

I've created a stencil

here based on a blur

of the original

so the original mat is being

is stenciling out

so you can see this is his nose

and I had two different types of blurs

which are screened together

so you can see you have the outer Halo here

and then the inner glow

you can change these up if you prefer

so you can have one

that maybe is a little bit more intense

and this blur here

kind of blur that up

that gets screened together

brought back into the alpha

and you can see here we grade it

pre multiply it

blur it and finally we use what's called the atop

so what does the atop do

if you look at your RGB

it just basically fills in the matte area

so the area that's matted in here

it comes in here and

basically overs it

so you can see the sun is

adding more of a flare around here

and you can color correct this very important

you will wanna color correct the sunlight color

um it's not gonna be white

it'll be more of a yellow

so you can see

I've added a little bit of color of yellow here

so this is uh

this is the sparkles

if I go ahead and merge that on

I am not gonna show that

it's basically adds like a little bit of a

sparkling or lens flare

whatever you can add lens flares

but don't ever go overboard with it and voila

we come to the end with the merge node

and there is Jack and all his glory

and a lot of that edge work has been taken care of by

our actual setup

is there work needed to be done here

yes you can see

we have some artifacts here that are red here

we've got the chin here that's gone ballistic

one of the reasons that might be

is because we need to desaturate more of the edge here

right so we talked about that before right

what is the whole purpose of this

whole purpose is

this is so that by the time you get to the plusing

of your actual edge blending

you don't have any saturated edges

because you can see what it's doing

it's compounding the color information

overboard here

so if we go back here to our saturation

this whole color here with the red is something that um

is cool but it's causing issues

in regards to

the scene so

um one of the things you can do is you know

for the heck of it

I mean let's

let's go back to our

edge d spill here

and what if we were to

kind of lessen this a little bit

turn all that off right

leave the green in there

and let's go back and see again

you can desaturate it here

could use these grades to kind of get that area

and desaturate the red in the background later

or in the diesel area I should say

and now if I come over here to the over

voila we don't have the issue

we still might need to do some work here as far as

dealing with this green edge on here and so forth

and also maybe color correcting this area

just doesn't make any sense with the background

which would require some masking

and color correction work over here okay

um or maybe in your d spell doesn't matter

I've also added this little shuffle slash contact sheet

so if you put your viewer to it and talked about before

you can cross compare the two together obviously

I need some work here

uh work here um

check to see that your elf is not bleeding through here

maybe you might have to do some rhodo paint work again

we're gonna cover that in the extra episode

there's some work here that's needed

we have you know issue here

maybe we need to blend this nose in a little bit better

this is highlight to blown out again

the Black Magic 4K has terrible dynamic range

um compared to what it is

but you can see from the original plate is big

no big difference um

in regards to what was handed to us versus what we have

we didn't degrade or break the color correction

it's just bad

in general the original image is bad

there is a there is a slighter different gradient

so there's that gradient here

so the light wraps and so forth might be an issue

that might be massed out or dealt with

but in general

you can see we have a pretty good result

just off the bat and again

I did this all at frame 26

I'm not going to go through this entire video

I will in future videos to animate Rotos

but for this demonstration

this is a quick way through the Uber tutorial

I do have a template in the folder

that comes with this whole package

you can get off my website that you can start with

it's a beautiful template

it's a great place to start

and will have you running as a pro in no time