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hey everybody
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welcome to class 1 of Nuke 2
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14 on ethics PhD
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I'm Jeremy Brown
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and I'm a compositor and digital artist
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at Zero Visual Effects in Boston
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um I'm happy to be here with John Deveraux
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and Charles Le Page
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we're going to be doing a lot of fun stuff in the class
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uh we're gonna be learning how to
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do a lot of different kinds of paint work
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rotoscoping uh
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projections um
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any kind of compositing trick you can think of really
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uh and not only that
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we're gonna focus
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a lot on how to collaborate with other people in your
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uh in whatever production pipeline you're working in
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so let's uh
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let's jump right in
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so I thought it would be useful
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at this point to take a look at
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the file structure that I'm going to be working with um
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I use this at home by myself as well as um at zero
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this is how we organize all of our clients and projects
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so uh on the route level are all the
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my uh current clients and uh
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let's just take a look inside one of them
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inside each client folder is folders of projects
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and we organize the project by code
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um so the first two letters of each project code
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are the other
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our client code uh
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the next two numbers are the current year uh
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we're in 2011
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and the last two numbers are
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the number project for this year
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so this is the first project I've done
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for this client in 2011
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uh the next four folders uh
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that live on the route directory are the image folder
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that's where any kind of uh
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finished images go or um
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any kind of painted images or pre concert
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or plates or things like that
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um the input output folder is uh
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broken up into client and vendor
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and that's where uh
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I keep files that were either received from a client
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or a vendor or sent to a client or a vendor
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and by vendor I mean any
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anyone that's not yourself or not your company
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um that you've um
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that you're currently working with
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uh inside the ref folder
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is all kinds of files that are used
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for reference on the project
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uh concept images
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you know art cards or
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or things like that live in the concept folder
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um if there's a current edit of the TV spot or
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or sequence that I'm working on
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uh that goes in this folder
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and in the stills folder are any kind of
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still images used for reference
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inside the work folder
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we have it broken down by application
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um so I have a folder for each
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each program that I intend to use or
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or may use on the project
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um in here uh
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so let's take a look at the uh
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the new folder
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inside each of these work folders
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uh it's broken down by shot
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and those correspond to um
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to to the shots in the comps folder um
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whenever we store image sequences uh
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we put them in a folder that corresponds to
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the name of the file that rendered them
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that live in my work folder
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and then inside each uh
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each folder that contains
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the image sequence is another folder that specifies uh
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the format and the file type uh
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in this case
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these are uh
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DPX files at um
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high definition
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so of 1920 by 1080 dpxes
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and the only thing that goes in that folder
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are the images themselves
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and the same thing goes with any other uh
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with any other image sequence um
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it's a good way to keep track of uh
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if you have a proxy render of this thing
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uh if it's at
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if it's at half rez or standard definition
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you just put uh
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SD dot dpx instead of HD
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that way you can organize your image sequences
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easily so you can always find
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multiple renders of the same thing
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so that's the uh
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that's the file structure that I'll be using and uh
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we'll get used to it uh
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throughout the class
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I just wanted uh
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to give you guys a quick introduction of
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of how things work
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and we'll be going into greater detail
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with most of these folders
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uh throughout the class
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so in this first class
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we're gonna discuss some best practices for rotoscoping
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and how to work efficiently
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and work well as part of a team
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so this is the shot we're gonna look at of this guy
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riding this motorcycle through the busy street
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it displays a lot of
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problems and features that you might run into
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while you're rotoscoping other shots
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uh it has a moving camera
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it has a moving subject
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it has objects in
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the background that we're going to isolate as well
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so uh it's a pretty good representative shot
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of a bunch of different issues that you may run across
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so what we're gonna do first is I start with a tracker
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to get the overall motion of the bike
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um this is not supposed to be like a
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mathematical
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pixel perfect uh track
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this is just so I can block in the uh
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the motion of the bike
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so that that can assist us with the roto
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so I chose this uh
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big bright light
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it's uh brighten all the channels
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and there doesn't seem to be a lot of green
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so this should be a fairly easy track
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so let's just go ahead and
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give that a shot
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tracking him pretty well
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good and now I'm just gonna change the uh
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the transform property to match move
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so now whatever is plugged into the tracker is gonna
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match move with the motion of that bike
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uh right now it's on the plate which isn't very useful
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but now we make our first roto node
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and make that the input of the tracker
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and what I'm gonna do first is make a grade node
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I'll use that later and explain what that's useful for
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um later in the class
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but this is just so that we can see our
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our match moved roto on top of the plate
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um cause they have to be linked together in order
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for you to to
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to look at um
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the resulting rodo
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so the first object that I'm gonna do is the
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uh is the wheel
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that's what I'm gonna start with
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so using my Bezier tool
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I'm just gonna start uh
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start blocking in that shape starting on frame 1
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it's important to plan and think about what uh
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what shapes you're going to do
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and how you're gonna roto them
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uh but it's also important
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not to spend too long on that step because uh
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chances are the roto that I'm starting with
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the shapes that I'm starting with
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aren't gonna be the ones that I ultimately end up with
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I'm probably gonna end up uh
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starting over on a couple shapes or uh
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or deleting a lot of keys later and adjusting
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um how many points are on what
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what particular shape and stuff like that
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so don't get hung up on the planning phase
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uh because you're
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probably just gonna be working against yourself later
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so the way that I like to roto
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um is a method that I call interval roto
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uh I basically choose a range of frames
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um or choose an interval of frames
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in this case
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uh 12 in most cases I
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I do 12 depending on the shot so you just go in uh
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in intervals of 12 along the shot
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and as you can see the
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the roto is match moved to our light
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which is what we want
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so that's the overall motion of the subject
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and so yeah
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just go every 12 I'm pressing shift arrow um
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to to move this number of frames
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you can also use these keys right here um
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and for phase 1 of interval roto
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for your base level of motion
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uh do your best not to touch individual points um
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we're just trying to block in the overall motion
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the overall shape of the of the wheel um
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not going for detail at this stage
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so just uh just put it in the right place
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the point of this method is we're gonna be
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laying in layers of motion
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so that at each stage of the rhodo um
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we know that the keyframes that we've set are
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are good and accurate uh
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that way we don't go
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you don't go backwards
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you don't miss a step or if you um
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start to go too detailed too fast
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then you're more apt to introduce
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introduce problems in the roto um
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that you that make it harder to fix uh
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when you've set too many keyframes
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and I'm using uh
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control or uh command or apple on a Mac um
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control on a PC to uh
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to change my pivot point um
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I'm setting my pivot point to the bottom of the wheel
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because that's really where the
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the rotation of the
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of the wheel is coming from where the
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where the wheel hits the pavement
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and you can use shift to
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get rid of the dead zone that it comes with um
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it tries to snap to cardinal positions
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0 and 45 degrees and 90 degrees
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if you wanna rotate in between inside that dead zone
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you just hold down shift
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and that gives you ultimate control
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so that's our
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that's our first layer of motion every 12 frames um
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and as you can see it's
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it's of course slipping
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but that's because we haven't gone too detailed um
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at this point when
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if I was rodeoing the whole bike
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I'm I'm not gonna Rodeo the entire bike at this point
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just because um
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of for time reasons I wanna
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I wanna jump
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jump ahead to other things um
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but at this point uh
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I would bring every single object
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every single shape that I was going to do
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I bring to this level of detail first
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so that every single shape is rotate on every 12 frames
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um so let's just pretend that uh
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I've routed the rest of the biker to this level
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and I'll move on to basically phase 1.5 um
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step 1.5 is taking those intervals of 12 and uh
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and making sure that they match on every frame
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so basically taking this first level of motion
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to close to final um
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so now you can kind of push and pull points and
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and make them line up with the uh
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with the outline with this um
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profile of the shape
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it's really important to work in steps
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at any time someone might
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need to get started on another task that relies on
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the rotor you've done
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so you don't want to have to say
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oh I've I've
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I've got this wheel
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it's perfect
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it's pixel perfect uh
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what about the rest of the bike
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oh I haven't even started that stuff yet
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so it's important to work in steps
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you wanna be able to
276
00:11:30,966 --> 00:11:32,466
to deliver something at
277
00:11:32,466 --> 00:11:33,300
at any point
278
00:11:33,300 --> 00:11:35,133
even if it's not final uh
279
00:11:35,133 --> 00:11:35,900
just to keep
280
00:11:35,900 --> 00:11:36,966
keep the production moving
281
00:11:36,966 --> 00:11:39,200
cause that's really the most important part is
282
00:11:39,200 --> 00:11:42,700
is making sure that everybody can work on something um
283
00:11:42,700 --> 00:11:43,366
all of the time
284
00:11:43,366 --> 00:11:44,133
it's it's a
285
00:11:44,133 --> 00:11:47,000
it's a bad place to be if you're the bottleneck in a
286
00:11:47,000 --> 00:11:48,066
in a pipeline
287
00:11:48,166 --> 00:11:50,600
so always try and keep that in mind
288
00:11:54,066 --> 00:11:58,000
and I'm using alt arrow to to go between keyframes
289
00:12:00,200 --> 00:12:03,500
which makes navigating the timeline a little easier
290
00:12:22,600 --> 00:12:24,866
so again I would bring all of my roto
291
00:12:24,866 --> 00:12:27,666
um on the entire bike to this stage before moving on
292
00:12:27,666 --> 00:12:30,266
but again we're just focusing on the wheel right now
293
00:12:30,266 --> 00:12:32,100
so I'm gonna skip ahead
294
00:12:32,100 --> 00:12:34,933
and now we're gonna go in between those um
295
00:12:34,933 --> 00:12:37,100
those 12 frames um
296
00:12:37,100 --> 00:12:39,300
so go six frames in from the start
297
00:12:39,566 --> 00:12:42,466
and that's gonna be our first um
298
00:12:42,566 --> 00:12:45,133
in between interval that we're gonna do um
299
00:12:45,133 --> 00:12:48,466
so this part is much like the first phase uh
300
00:12:48,466 --> 00:12:52,333
we're just kind of moving the shape into position uh
301
00:12:52,333 --> 00:12:54,700
not worrying about accuracy just yet
302
00:12:55,133 --> 00:12:57,600
just bring this is this is the second layer
303
00:12:57,933 --> 00:13:00,966
layer of motion that we're introducing into this thing
304
00:13:00,966 --> 00:13:03,000
so the idea is that
305
00:13:04,200 --> 00:13:05,400
when you progress
306
00:13:06,166 --> 00:13:07,700
to each layer of motion
307
00:13:07,866 --> 00:13:09,466
you know that the one before it
308
00:13:09,466 --> 00:13:12,366
is good and you're not introducing any problems uh
309
00:13:12,366 --> 00:13:14,600
the other reason is this is the
310
00:13:14,600 --> 00:13:16,666
really the best way to um
311
00:13:16,666 --> 00:13:19,833
make the computer do as much of the work for you um
312
00:13:20,400 --> 00:13:21,700
it of course you can
313
00:13:22,333 --> 00:13:24,766
you know go in and paint every single frame of a mat
314
00:13:24,766 --> 00:13:26,866
but it'll never be perfect if you do it that way
315
00:13:26,866 --> 00:13:30,900
and also you've spent a long time um
316
00:13:30,933 --> 00:13:33,500
doing that so it's important to
317
00:13:33,533 --> 00:13:36,633
try and make the computer do as much as um
318
00:13:37,166 --> 00:13:38,666
as much work as possible
319
00:13:38,933 --> 00:13:42,300
so now I'm doing step 2.5 basically
320
00:13:42,300 --> 00:13:44,666
um doing the same thing as 1.5
321
00:13:44,666 --> 00:13:46,600
I'm just revisiting all those
322
00:13:47,066 --> 00:13:49,666
all those keys that I've just made and making sure that
323
00:13:49,666 --> 00:13:51,166
that those line up
324
00:13:52,900 --> 00:13:54,733
and I'm also trying to be uh
325
00:13:54,733 --> 00:13:58,033
consistent in terms of where I put my edge uh
326
00:13:58,066 --> 00:14:02,166
if you notice there's some motion blur areas in this
327
00:14:02,166 --> 00:14:05,466
in this shot and I chose to
328
00:14:05,466 --> 00:14:06,600
to roto to the inside
329
00:14:06,600 --> 00:14:08,000
of that edge
330
00:14:08,400 --> 00:14:11,466
some people tell you to roto the center
331
00:14:11,466 --> 00:14:13,800
some people tell you to roto to the
332
00:14:13,800 --> 00:14:16,433
to the edge of the motion blur um
333
00:14:16,933 --> 00:14:20,133
it's less important where you put that edge
334
00:14:20,133 --> 00:14:21,966
it's more important as the
335
00:14:21,966 --> 00:14:23,700
it's more important to stick to whatever
336
00:14:23,700 --> 00:14:24,566
edge you choose
337
00:14:24,566 --> 00:14:29,100
it's way easier to erode or dilate an edge
338
00:14:29,100 --> 00:14:31,633
later than it is to go back and fix the roto
339
00:14:31,800 --> 00:14:34,000
so as long as that edge remains uh
340
00:14:34,000 --> 00:14:35,266
consistent throughout the shot
341
00:14:35,266 --> 00:14:37,000
then you've done a
342
00:14:37,000 --> 00:14:39,266
big favor to whoever has to composite this
343
00:14:39,300 --> 00:14:42,000
uh if the edge floats around within the motion blur
344
00:14:42,000 --> 00:14:43,366
from frame to frame
345
00:14:43,500 --> 00:14:46,066
it's much more difficult to use that roto
346
00:14:46,066 --> 00:14:48,366
and would require you to go back and
347
00:14:48,466 --> 00:14:50,500
and fix keyframes instead of just
348
00:14:50,533 --> 00:14:52,400
modifying the mat overall
349
00:14:54,300 --> 00:14:55,666
the other reason that I chose
350
00:14:55,700 --> 00:14:59,900
12 frames is because on the second layer of motion I am
351
00:15:00,533 --> 00:15:04,766
12 is easily divided into the 6 frame chunks
352
00:15:05,900 --> 00:15:08,266
so I just go in between each one
353
00:15:08,300 --> 00:15:10,066
and it's a nice even number
354
00:15:11,166 --> 00:15:15,200
I've always felt that rotoscoping is a skill that's uh
355
00:15:15,400 --> 00:15:17,500
that's kinda undervalued in the industry
356
00:15:17,666 --> 00:15:19,366
it's something that
357
00:15:20,733 --> 00:15:22,766
no one wants to do for obvious reasons
358
00:15:22,766 --> 00:15:24,400
cause you can kinda go crazy
359
00:15:24,533 --> 00:15:27,400
um especially on long shots
360
00:15:27,866 --> 00:15:31,200
uh and it's usually considered an entry level job which
361
00:15:31,200 --> 00:15:33,033
which makes sense uh
362
00:15:34,666 --> 00:15:36,300
but it's not a skill that
363
00:15:36,300 --> 00:15:37,733
that people are anxious to learn
364
00:15:37,733 --> 00:15:39,366
it's not a skill that uh
365
00:15:39,366 --> 00:15:43,266
that many people view as as you know
366
00:15:43,266 --> 00:15:43,933
prestigious
367
00:15:43,933 --> 00:15:47,666
everybody would rather do it automatically
368
00:15:47,666 --> 00:15:50,533
of course that's why we have
369
00:15:50,533 --> 00:15:53,100
green screens and keys and all that kind of good stuff
370
00:15:54,000 --> 00:15:58,100
but I found that there's really no substitute for
371
00:15:58,900 --> 00:16:00,600
good roto um
372
00:16:00,600 --> 00:16:03,100
the best green screen in the world still can't touch
373
00:16:03,100 --> 00:16:06,733
a perfect rotoscoped edge as far as I'm concerned
374
00:16:06,733 --> 00:16:08,266
so it's something that
375
00:16:08,266 --> 00:16:09,666
that you should really take seriously
376
00:16:09,666 --> 00:16:11,600
and try and get good at if you wanna
377
00:16:12,066 --> 00:16:13,600
if you wanna be successful
378
00:16:13,600 --> 00:16:14,866
um of course
379
00:16:14,866 --> 00:16:17,133
it's not required but it's
380
00:16:17,133 --> 00:16:18,966
it's definitely something that's
381
00:16:18,966 --> 00:16:21,400
that's always helped me um
382
00:16:22,333 --> 00:16:23,766
if if you're
383
00:16:24,866 --> 00:16:26,333
if you're you know
384
00:16:26,333 --> 00:16:28,133
six hours from delivery and you realize
385
00:16:28,133 --> 00:16:29,866
oh my gosh we need a mat for
386
00:16:29,866 --> 00:16:33,033
for this wheel then uh
387
00:16:33,100 --> 00:16:34,100
somebody's gotta
388
00:16:34,133 --> 00:16:35,700
somebody might have to rotoscope it
389
00:16:35,700 --> 00:16:37,300
and do it really fast
390
00:16:37,400 --> 00:16:41,700
so it would be great if you're that person and
391
00:16:41,700 --> 00:16:42,933
you're in that position to
392
00:16:42,933 --> 00:16:44,233
to save a delivery
393
00:16:45,000 --> 00:16:46,566
because you Learned how to roto
394
00:16:49,066 --> 00:16:51,000
great so that's uh
395
00:16:51,066 --> 00:16:54,233
this is now wrote on every 3 frame with a tracker
396
00:16:58,266 --> 00:17:00,433
and that's not looking too bad
397
00:17:06,166 --> 00:17:10,400
so now um I wanna move on to uh
398
00:17:10,800 --> 00:17:13,466
on to how to check Roto um
399
00:17:14,066 --> 00:17:17,633
at this stage you can of course go in between um
400
00:17:17,666 --> 00:17:21,000
these intervals of now 3 and fix up any
401
00:17:21,000 --> 00:17:23,000
any remaining problem spots
402
00:17:23,000 --> 00:17:25,566
but usually this kind of um
403
00:17:25,666 --> 00:17:27,900
resolution of key frames is sufficient for
404
00:17:27,900 --> 00:17:30,100
for most shots um
405
00:17:30,133 --> 00:17:34,000
if you don't have great detail in uh
406
00:17:34,000 --> 00:17:35,900
in the rhodo and in these in between frames
407
00:17:35,900 --> 00:17:39,000
it either means that um the shop
408
00:17:39,066 --> 00:17:40,766
the object requires you to
409
00:17:40,766 --> 00:17:44,433
to be more detailed and maybe go every two or in
410
00:17:44,800 --> 00:17:47,000
extreme cases every frame to
411
00:17:47,000 --> 00:17:49,900
to block in motion but for most things um
412
00:17:49,900 --> 00:17:51,200
you really shouldn't need
413
00:17:51,566 --> 00:17:54,000
um much more resolution than this
414
00:17:54,266 --> 00:17:57,866
uh so I'm pretty happy with that so let's move on to
415
00:17:58,300 --> 00:18:01,700
um on to how to check this roto now that we've
416
00:18:01,700 --> 00:18:02,766
now that we've done it
417
00:18:03,333 --> 00:18:04,666
so now that we've rode the biker
418
00:18:04,666 --> 00:18:06,700
we're gonna learn how to check roto
419
00:18:07,266 --> 00:18:11,033
this is my finished roto of the of the biker
420
00:18:13,100 --> 00:18:14,133
and uh what I
421
00:18:14,133 --> 00:18:16,100
forgot to mention while we were doing it is
422
00:18:16,100 --> 00:18:19,766
it's really important to as you're working um
423
00:18:19,766 --> 00:18:20,966
name your shapes
424
00:18:21,100 --> 00:18:23,000
uh each one of these shapes
425
00:18:23,166 --> 00:18:26,700
I named right after I did the first round of motion
426
00:18:26,933 --> 00:18:28,566
and you should do the same
427
00:18:28,566 --> 00:18:29,933
it's important to keep
428
00:18:29,933 --> 00:18:33,300
keep things straight and make sure that again
429
00:18:33,300 --> 00:18:36,200
someone if someone else needs to pick up the
430
00:18:36,866 --> 00:18:38,266
pick up the shot
431
00:18:38,266 --> 00:18:41,266
they'll they'll be able to do it easily
432
00:18:46,666 --> 00:18:49,200
so back to that grade note that uh
433
00:18:49,600 --> 00:18:51,866
that I made earlier um
434
00:18:53,466 --> 00:18:58,466
I put it some mask input as the roto so that we can um
435
00:18:58,666 --> 00:19:00,300
basically just lift up
436
00:19:00,866 --> 00:19:03,633
one of the channels so that we can see
437
00:19:04,500 --> 00:19:07,533
that edge as pixels instead of um
438
00:19:07,533 --> 00:19:10,900
instead of as lines because it can be kinda deceiving
439
00:19:10,900 --> 00:19:12,900
you see the lines moving appropriately in
440
00:19:12,900 --> 00:19:14,066
in the right place
441
00:19:14,066 --> 00:19:15,166
but it might
442
00:19:15,200 --> 00:19:18,100
um it's usually easier to see
443
00:19:18,533 --> 00:19:20,166
what's actually getting output if you
444
00:19:20,166 --> 00:19:21,466
if you look at uh
445
00:19:21,566 --> 00:19:23,133
look at the mask this way
446
00:19:23,133 --> 00:19:26,466
um nuke does have a built in feature to do this uh
447
00:19:26,733 --> 00:19:27,966
but I tend not to use it
448
00:19:27,966 --> 00:19:30,466
I just find it easier to to do most
449
00:19:30,766 --> 00:19:32,666
most things in the uh
450
00:19:32,666 --> 00:19:34,166
in the no graph itself
451
00:19:34,900 --> 00:19:36,266
so it looks pretty good
452
00:19:36,266 --> 00:19:40,266
uh the big advantage to this method is it tells you
453
00:19:40,933 --> 00:19:44,033
right off the bat big areas that you've missed
454
00:19:44,166 --> 00:19:46,966
uh so I noticed that I left a hole in uh
455
00:19:46,966 --> 00:19:50,000
in his chest area right around um
456
00:19:50,966 --> 00:19:52,066
right around here
457
00:19:52,266 --> 00:19:54,300
so I'll have to go back and clean that up
458
00:19:54,300 --> 00:19:56,800
it also tells me that I missed this little
459
00:19:56,800 --> 00:19:58,966
knob thing on the wheel that I'll have to pick up
460
00:19:58,966 --> 00:20:00,166
and a sliver of the
461
00:20:00,166 --> 00:20:03,166
of the bike that I missed too um
462
00:20:04,066 --> 00:20:06,366
so we'll go and uh
463
00:20:06,466 --> 00:20:09,000
I'll go fix those in a bit
464
00:20:09,000 --> 00:20:11,500
um but I just wanna move on to some other um
465
00:20:11,500 --> 00:20:13,300
checking techniques
466
00:20:13,366 --> 00:20:15,366
uh it doesn't matter if you use lift or
467
00:20:15,366 --> 00:20:17,066
or multiplier or whatever
468
00:20:17,066 --> 00:20:20,366
basically you're just trying to change the color of uh
469
00:20:20,366 --> 00:20:22,166
of the pixels inside the mask
470
00:20:22,700 --> 00:20:24,533
so that's one way and that's a great way
471
00:20:24,533 --> 00:20:26,466
um but it doesn't show you everything
472
00:20:26,466 --> 00:20:29,666
it doesn't show you the uh
473
00:20:29,666 --> 00:20:31,666
it doesn't show you any floating that might be going on
474
00:20:31,666 --> 00:20:32,166
or jittering or
475
00:20:32,166 --> 00:20:33,533
or something like that
476
00:20:33,533 --> 00:20:34,833
so the best way to
477
00:20:35,166 --> 00:20:39,100
to look at that is to actually do a little slap comp
478
00:20:39,100 --> 00:20:41,100
so I'm just gonna disable my grade node
479
00:20:41,100 --> 00:20:42,733
leave it leave it there for now
480
00:20:42,733 --> 00:20:44,833
um but I'm gonna go ahead and make
481
00:20:45,133 --> 00:20:49,633
a merge node and a copy node so now
482
00:20:50,533 --> 00:20:54,666
I'll just copy my alpha channel from the roto itself
483
00:20:56,200 --> 00:20:59,500
and the B channel is gonna be my my RGB
484
00:21:00,266 --> 00:21:03,666
RGB channels and also make a constant color
485
00:21:03,733 --> 00:21:04,966
uh it can be anything
486
00:21:04,966 --> 00:21:07,600
let's make it uh 50% gray for now
487
00:21:09,166 --> 00:21:11,200
and the roto is my a
488
00:21:12,200 --> 00:21:14,800
because I'm gonna be putting it over this constant
489
00:21:16,333 --> 00:21:19,166
and of course pre multiply
490
00:21:21,800 --> 00:21:25,800
so now what I have is the biker over a constant colour
491
00:21:26,333 --> 00:21:28,400
and this will really tell you
492
00:21:28,400 --> 00:21:32,033
how accurate the Roto is in terms of its consistency
493
00:21:39,733 --> 00:21:41,966
so once that caches up we can see it
494
00:21:43,866 --> 00:21:45,566
so not too bad overall
495
00:21:45,666 --> 00:21:48,466
uh the biggest area of floating that
496
00:21:48,466 --> 00:21:52,300
that I see is right here on the muffler in the back
497
00:21:56,100 --> 00:21:58,100
where it kind of floats off for a little bit
498
00:21:58,133 --> 00:22:01,400
so that's another area that I'd that I'd go in and uh
499
00:22:01,400 --> 00:22:02,766
and fix a little bit
500
00:22:06,666 --> 00:22:08,566
so this is a task that uh
501
00:22:08,566 --> 00:22:10,733
that I must have done 100,000 times
502
00:22:10,733 --> 00:22:12,166
make this little network
503
00:22:12,166 --> 00:22:14,533
so one way that we can speed up uh
504
00:22:14,533 --> 00:22:16,966
this process of checking Roto is um
505
00:22:16,966 --> 00:22:18,266
by making a gizmo
506
00:22:18,533 --> 00:22:19,666
uh a gizmo is
507
00:22:19,666 --> 00:22:22,300
is basically just a group of nodes um
508
00:22:22,300 --> 00:22:25,600
you can also make just a group of nodes in nuke
509
00:22:25,600 --> 00:22:27,500
and that's exactly how we're gonna start
510
00:22:27,533 --> 00:22:31,100
so I'm gonna select this network and press Apple G
511
00:22:31,200 --> 00:22:32,900
and that makes it into a group
512
00:22:32,966 --> 00:22:33,966
so right now
513
00:22:33,966 --> 00:22:37,800
all of these nodes got condensed into one group
514
00:22:38,200 --> 00:22:40,866
you can access that subgroup by pressing the little
515
00:22:40,866 --> 00:22:42,000
s in the uh
516
00:22:42,000 --> 00:22:43,566
in the group note itself
517
00:22:43,666 --> 00:22:46,533
um and it shows up as a separate no graph
518
00:22:46,533 --> 00:22:47,600
uh right here
519
00:22:47,933 --> 00:22:50,333
so what this basically does is
520
00:22:50,333 --> 00:22:52,800
it creates kind of a palette for us to
521
00:22:52,800 --> 00:22:54,066
to create a node
522
00:22:54,066 --> 00:22:55,566
um in nuke uh
523
00:22:55,566 --> 00:22:57,700
with all kinds of buttons and stuff like that
524
00:22:57,700 --> 00:23:02,066
uh it uh it figures out how many input nodes to make
525
00:23:02,066 --> 00:23:04,666
and how many output nodes to make based on
526
00:23:04,666 --> 00:23:06,600
how many inputs you had
527
00:23:06,800 --> 00:23:09,300
coming into the group to begin with
528
00:23:09,300 --> 00:23:12,500
um so it creates those by default
529
00:23:12,500 --> 00:23:14,100
and if we rename them
530
00:23:14,500 --> 00:23:16,700
uh this input uh
531
00:23:16,700 --> 00:23:17,733
was for the
532
00:23:17,733 --> 00:23:18,466
was for the roto
533
00:23:18,466 --> 00:23:19,833
so I'm gonna call it roto
534
00:23:20,200 --> 00:23:23,133
and this input was for the plate
535
00:23:23,133 --> 00:23:24,000
the RGB channel
536
00:23:24,000 --> 00:23:26,000
so I'm gonna call it uh
537
00:23:26,000 --> 00:23:27,166
call it plate
538
00:23:28,500 --> 00:23:30,933
and now when we look at the group note itself
539
00:23:30,933 --> 00:23:35,066
it's labeled the uh the input arrows as roto and plate
540
00:23:35,933 --> 00:23:37,933
so that's the first step and let's uh
541
00:23:37,933 --> 00:23:40,433
let's name the group itself Roto check
542
00:23:43,300 --> 00:23:46,333
and now uh what we can do is uh
543
00:23:46,333 --> 00:23:51,266
go ahead and and make make knobs to um make this task
544
00:23:51,666 --> 00:23:54,300
um repeatable
545
00:23:56,000 --> 00:23:57,533
so first uh
546
00:23:57,533 --> 00:23:59,366
if you right click in the uh
547
00:23:59,366 --> 00:24:01,500
in the area where the tabs are
548
00:24:01,500 --> 00:24:04,666
you can find the one that says manage user knobs
549
00:24:04,666 --> 00:24:06,433
and that brings up a little dialogue
550
00:24:06,500 --> 00:24:09,633
um you can add your own or you can
551
00:24:09,733 --> 00:24:13,900
uh pick ones from existing nodes inside uh the subgroup
552
00:24:13,900 --> 00:24:17,233
so the first one we're gonna start with is the
553
00:24:17,566 --> 00:24:18,833
is the grade node
554
00:24:19,933 --> 00:24:21,466
and we're gonna pick the
555
00:24:23,200 --> 00:24:25,500
uh the lift property
556
00:24:26,466 --> 00:24:29,266
and so that gives us in the user tab
557
00:24:29,366 --> 00:24:34,666
uh a slider called lift which is actually uh linked to
558
00:24:35,666 --> 00:24:40,666
to this um to the lift property inside the grade note
559
00:24:41,700 --> 00:24:43,000
so with that taken care of
560
00:24:43,000 --> 00:24:44,500
let's make another one
561
00:24:45,933 --> 00:24:47,866
for the color of the constant
562
00:24:53,933 --> 00:24:55,500
so now let's make some
563
00:24:55,500 --> 00:24:57,800
external controls for turning those on and off
564
00:24:58,166 --> 00:24:59,833
back to manage user knobs
565
00:25:01,100 --> 00:25:04,400
we can add a checkbox
566
00:25:04,533 --> 00:25:06,866
so the first checkbox I'm gonna call
567
00:25:07,166 --> 00:25:10,633
I'm going to call Color Overlay
568
00:25:15,000 --> 00:25:17,566
and the label is just a nice name for
569
00:25:18,366 --> 00:25:20,433
uh the name of this attribute
570
00:25:23,700 --> 00:25:25,633
and there's our color overlay button
571
00:25:26,266 --> 00:25:30,033
and then I'm gonna make a second one called
572
00:25:31,600 --> 00:25:32,966
premult apply
573
00:25:33,900 --> 00:25:35,766
I'm gonna leave the name as premult
574
00:25:35,766 --> 00:25:41,233
and the label is going to be premult over
575
00:25:42,566 --> 00:25:43,366
PG
576
00:25:45,300 --> 00:25:47,366
so there's that one
577
00:25:47,666 --> 00:25:53,700
and the way we can link those together is by uh is by
578
00:25:54,966 --> 00:25:58,066
going into each uh node and
579
00:25:58,133 --> 00:26:01,600
the easiest way to do it is with the disable property
580
00:26:01,800 --> 00:26:04,566
uh we can add an expression on that checkbox
581
00:26:05,500 --> 00:26:08,366
and uh link it to the
582
00:26:08,366 --> 00:26:10,966
the check boxes that we've just created
583
00:26:11,066 --> 00:26:13,533
in order to access the properties on the group
584
00:26:13,533 --> 00:26:14,500
note itself
585
00:26:14,566 --> 00:26:18,466
we first have to call the parent
586
00:26:18,933 --> 00:26:22,766
and then with the dot you specify the name of the
587
00:26:22,933 --> 00:26:23,600
of the property
588
00:26:23,600 --> 00:26:25,366
so we named the first one
589
00:26:26,566 --> 00:26:28,500
for the grade node color overlay
590
00:26:29,500 --> 00:26:33,166
and now it's properly um resolved it to 0
591
00:26:33,200 --> 00:26:34,900
cause it's not checked right now
592
00:26:35,500 --> 00:26:37,333
but we actually wanted to do the opposite
593
00:26:37,333 --> 00:26:39,766
when the color overlay is not checked
594
00:26:39,800 --> 00:26:42,400
we want the node to be disabled
595
00:26:42,566 --> 00:26:45,200
so by putting an exclamation point in front of it
596
00:26:45,200 --> 00:26:49,433
that specifies um the opposite of whatever the value is
597
00:26:50,900 --> 00:26:53,200
so now you can see there's a single slash
598
00:26:53,200 --> 00:26:55,100
indicating that there's an expression on
599
00:26:55,100 --> 00:26:55,900
the disabled note
600
00:26:55,900 --> 00:26:57,833
and if we check that on and off
601
00:26:59,133 --> 00:27:02,133
um the grade note properly turns on and off
602
00:27:02,133 --> 00:27:04,300
so let's change the the grade color
603
00:27:05,766 --> 00:27:07,200
and now it turns on and off
604
00:27:09,866 --> 00:27:11,366
so for the next one um
605
00:27:11,366 --> 00:27:14,266
it gets a little complicated because we can't just
606
00:27:14,666 --> 00:27:16,533
uh turn this node
607
00:27:16,533 --> 00:27:19,000
the we can't just turn the merge note on and off
608
00:27:19,800 --> 00:27:21,566
uh we have to
609
00:27:21,866 --> 00:27:23,100
and nor can we just turn
610
00:27:23,100 --> 00:27:24,900
the pre multiply note on and off
611
00:27:26,166 --> 00:27:28,700
cause that doesn't give us exactly what we want
612
00:27:28,700 --> 00:27:29,966
so we're gonna do two things
613
00:27:29,966 --> 00:27:32,033
well let's first wire that up
614
00:27:32,133 --> 00:27:34,166
so in the pre multiply node
615
00:27:35,966 --> 00:27:39,166
we'll just uh add a new expression for that
616
00:27:39,166 --> 00:27:41,100
and this expression is going to be
617
00:27:41,200 --> 00:27:44,366
the opposite of parent dot premult
618
00:27:48,900 --> 00:27:51,666
so now when pre multiply is checked
619
00:27:52,400 --> 00:27:54,366
the pre multiply node turns on
620
00:27:56,700 --> 00:27:58,033
but when it's unchecked
621
00:27:58,266 --> 00:28:01,600
we want it to use the color overlay or we want it to
622
00:28:01,600 --> 00:28:04,266
use the RGB channels directly from the plate
623
00:28:04,400 --> 00:28:06,100
so in order to do that
624
00:28:06,300 --> 00:28:08,766
so to fix this we can use a switchnote
625
00:28:12,066 --> 00:28:16,633
and make our 1 input the merge node and our zero input
626
00:28:17,000 --> 00:28:19,966
the uh coming out of the premult node
627
00:28:21,666 --> 00:28:25,266
so when uh premult apply is off it's 0
628
00:28:25,266 --> 00:28:27,000
so let's wire that up
629
00:28:31,666 --> 00:28:33,900
so this time it does not need to be the opposite
630
00:28:33,900 --> 00:28:36,200
because when it's when premult is 0
631
00:28:36,200 --> 00:28:39,666
we want the input of the switchnote to be zero
632
00:28:41,133 --> 00:28:42,800
so when we check it on
633
00:28:43,600 --> 00:28:47,800
it uses the merge note the one input right here
634
00:28:48,500 --> 00:28:50,366
so when we turn that on and off
635
00:28:51,100 --> 00:28:53,266
and we can have both of them on at the same time
636
00:28:53,500 --> 00:28:54,700
it does all that correctly
637
00:28:54,700 --> 00:28:57,300
so then we can you know change the color of the
638
00:28:57,300 --> 00:28:59,300
of the background to whatever we want
639
00:29:02,933 --> 00:29:04,066
and there's our gizmo
640
00:29:04,100 --> 00:29:06,866
so once you've got that all wired up sufficiently
641
00:29:07,100 --> 00:29:08,233
to your liking
642
00:29:09,466 --> 00:29:14,500
um you can export this by going to the node
643
00:29:14,500 --> 00:29:18,166
uh tab of the gizmo and saying export as gizmo
644
00:29:18,500 --> 00:29:21,466
and then save it somewhere and uh
645
00:29:21,466 --> 00:29:24,033
and then we're gonna move it to the to the right place
646
00:29:25,766 --> 00:29:27,166
uh depending on
647
00:29:27,566 --> 00:29:28,766
what computer you're on
648
00:29:28,766 --> 00:29:30,300
if you're on a Mac or PC
649
00:29:30,300 --> 00:29:32,666
it uh the location of that
650
00:29:32,766 --> 00:29:35,133
gizmo might be different for you um
651
00:29:35,133 --> 00:29:36,233
but on a Mac
652
00:29:36,933 --> 00:29:39,866
they live in your user's folder
653
00:29:39,866 --> 00:29:42,200
in your Nuke direct dot nuke directory um
654
00:29:42,200 --> 00:29:44,133
sometimes you have to do shift Apple G
655
00:29:44,133 --> 00:29:46,300
to get to the nuke directory if it's not
656
00:29:46,300 --> 00:29:47,433
readily visible
657
00:29:48,000 --> 00:29:50,600
and I just made a folder called gizmos
658
00:29:50,800 --> 00:29:52,333
and then in this uh
659
00:29:52,333 --> 00:29:54,200
in the menu dot p y folder
660
00:29:55,166 --> 00:29:58,600
you just have to add a line right here
661
00:29:58,900 --> 00:30:01,066
called toolbar dot ad command
662
00:30:01,066 --> 00:30:03,466
and then I gave it the path to
663
00:30:03,966 --> 00:30:08,900
um my gizmo and I told it what to do
664
00:30:09,466 --> 00:30:11,066
so when I go into
665
00:30:11,066 --> 00:30:12,133
um my node graph
666
00:30:12,133 --> 00:30:13,700
all I have to do is hit tab
667
00:30:15,466 --> 00:30:17,100
and scroll down to rotor check
668
00:30:17,100 --> 00:30:18,633
and there's my gizmo
669
00:30:19,533 --> 00:30:21,166
looks just like most other nodes
670
00:30:21,166 --> 00:30:21,933
which is great
671
00:30:21,933 --> 00:30:24,100
and I can't go into the source of that
672
00:30:24,100 --> 00:30:28,066
um which you probably might not want to do for uh
673
00:30:28,066 --> 00:30:29,300
a number of reasons
674
00:30:29,566 --> 00:30:32,033
if you're at a company with a lot of people
675
00:30:32,566 --> 00:30:34,666
and you wanna standardize your tools
676
00:30:35,066 --> 00:30:37,633
uh at 0 at work we have um
677
00:30:37,733 --> 00:30:38,866
we have all of our
678
00:30:39,066 --> 00:30:42,433
custom gizmos located in one directory on our
679
00:30:42,533 --> 00:30:43,700
on our file server
680
00:30:43,733 --> 00:30:45,600
so this folder um
681
00:30:45,600 --> 00:30:50,200
and we actually have one menu dot p y fold file that uh
682
00:30:50,466 --> 00:30:52,966
that all the nuke stations reference
683
00:30:52,966 --> 00:30:54,933
so whenever anyone adds a new gizmo
684
00:30:54,933 --> 00:30:57,133
or whenever anything needs to change in this file
685
00:30:57,133 --> 00:31:00,166
it gets propagated to everybody's workstations
686
00:31:00,166 --> 00:31:01,566
so we never have to
687
00:31:01,866 --> 00:31:03,900
um worry that
688
00:31:03,900 --> 00:31:06,900
that we don't have a specific node
689
00:31:07,000 --> 00:31:08,500
um or gizmo
690
00:31:09,200 --> 00:31:10,366
on a on one computer
691
00:31:10,366 --> 00:31:11,400
but not the other
692
00:31:12,566 --> 00:31:15,666
there's also a way to customize your menus
693
00:31:15,666 --> 00:31:17,200
um by default
694
00:31:17,200 --> 00:31:18,066
what I just did
695
00:31:18,066 --> 00:31:19,466
it goes into a little
696
00:31:19,500 --> 00:31:21,066
um menu here
697
00:31:21,933 --> 00:31:23,700
without a with a generic icon
698
00:31:23,700 --> 00:31:26,500
so I can get it that way um
699
00:31:26,766 --> 00:31:30,233
and you can go crazy making icons and all kinds of
700
00:31:30,333 --> 00:31:31,466
different things like that
701
00:31:31,466 --> 00:31:33,366
but for this class um
702
00:31:33,366 --> 00:31:34,533
we'll leave it at that
703
00:31:34,533 --> 00:31:37,366
so the last thing that we're gonna take a look at in
704
00:31:37,600 --> 00:31:39,833
uh in class 1 is
705
00:31:39,933 --> 00:31:41,666
how to manipulate roto
706
00:31:41,666 --> 00:31:44,400
and how to bring roto in from other applications
707
00:31:44,533 --> 00:31:47,300
and things like that so uh
708
00:31:47,300 --> 00:31:48,200
first things first
709
00:31:48,200 --> 00:31:49,766
I don't know if you uh
710
00:31:49,766 --> 00:31:50,700
noticed or not
711
00:31:50,700 --> 00:31:54,466
but I um I put some
712
00:31:54,666 --> 00:31:56,933
motion blur on the roto um
713
00:31:56,933 --> 00:31:58,266
if we go to a heavy motion area
714
00:31:58,266 --> 00:32:00,433
you can kinda see it better right here
715
00:32:00,566 --> 00:32:03,066
as a good frame um
716
00:32:03,166 --> 00:32:05,666
and the way I did that is is um
717
00:32:07,300 --> 00:32:10,033
two fold first of all
718
00:32:10,566 --> 00:32:11,700
all your uh
719
00:32:12,400 --> 00:32:15,100
all your rotor shapes have
720
00:32:15,100 --> 00:32:17,666
motion blur properties on them already um
721
00:32:17,666 --> 00:32:19,366
they just might be set to off
722
00:32:20,133 --> 00:32:22,666
so you just select all of them and turn it on
723
00:32:24,066 --> 00:32:26,666
so that adds motion blur to our stabilized roto
724
00:32:26,800 --> 00:32:28,100
since it is stabilized
725
00:32:28,100 --> 00:32:31,366
uh doing that doesn't really affect the um
726
00:32:32,266 --> 00:32:36,200
affect the the motion blur too much because there's not
727
00:32:36,200 --> 00:32:39,500
much motion on the stabilized version um
728
00:32:39,666 --> 00:32:41,700
the way that I got the roto
729
00:32:42,133 --> 00:32:44,966
to motion blur is really coming from the tracker
730
00:32:45,066 --> 00:32:45,933
um cause again
731
00:32:45,933 --> 00:32:49,466
that's where the overall motion of the of the um
732
00:32:50,666 --> 00:32:53,266
of the bike is coming from is this tracker
733
00:32:55,000 --> 00:32:57,633
and those settings just live right
734
00:32:58,666 --> 00:33:00,366
in here in the transform tab
735
00:33:00,366 --> 00:33:02,800
so Motion Blur is kind of a misnamed
736
00:33:03,866 --> 00:33:04,933
uh attribute
737
00:33:04,933 --> 00:33:07,966
it really refers to the number of samples that
738
00:33:08,000 --> 00:33:10,133
that nuke uses to calculate the motion blur
739
00:33:10,133 --> 00:33:12,900
you can turn this up to increase the accuracy uh
740
00:33:12,900 --> 00:33:14,900
and the number of samples that it takes
741
00:33:14,900 --> 00:33:16,100
if you need to
742
00:33:16,500 --> 00:33:17,733
usually you don't have to
743
00:33:17,733 --> 00:33:19,900
especially for stuff like this
744
00:33:19,900 --> 00:33:21,266
where there's motion blur
745
00:33:21,266 --> 00:33:23,400
but there's not a great deal of it
746
00:33:23,966 --> 00:33:26,700
if you had an object moving from
747
00:33:26,700 --> 00:33:29,766
one end of the screen to the other in a single frame
748
00:33:29,766 --> 00:33:31,766
then you might need to turn up your samples
749
00:33:31,766 --> 00:33:34,100
but otherwise you should generally just leave it at one
750
00:33:34,333 --> 00:33:37,333
uh shutter speed indicates the degree of motion blur
751
00:33:37,333 --> 00:33:38,400
so if you turn it down
752
00:33:38,400 --> 00:33:39,900
the shutter is open for less time
753
00:33:39,900 --> 00:33:41,600
meaning there will be less motion blur
754
00:33:42,100 --> 00:33:44,766
if you turn that value closer to 1
755
00:33:44,766 --> 00:33:46,666
the shutter stays open for the whole frame
756
00:33:46,666 --> 00:33:48,433
and you end up with more motion blur
757
00:33:48,533 --> 00:33:49,900
uh unless you have
758
00:33:50,066 --> 00:33:53,200
really accurate dad about what camera took the footage
759
00:33:53,200 --> 00:33:55,533
um this is kind of an arbitrary thing that
760
00:33:55,533 --> 00:33:56,900
you just kinda eyeball
761
00:33:56,900 --> 00:33:58,600
so I just um
762
00:33:58,600 --> 00:33:59,866
picked what I thought looked right
763
00:33:59,866 --> 00:34:01,466
basically um
764
00:34:01,466 --> 00:34:02,400
and the way I do that is
765
00:34:02,400 --> 00:34:06,066
is I use my little color overlay and uh
766
00:34:06,366 --> 00:34:07,333
and just see
767
00:34:07,333 --> 00:34:08,700
you know how close I came
768
00:34:09,966 --> 00:34:10,866
not too bad
769
00:34:15,700 --> 00:34:17,200
so back to my alpha channel
770
00:34:17,200 --> 00:34:20,100
and shutter offset just refers to uh
771
00:34:20,100 --> 00:34:22,200
where that motion starts
772
00:34:22,200 --> 00:34:24,000
does it start at the start of the frame
773
00:34:24,133 --> 00:34:25,466
or the end of the frame
774
00:34:26,066 --> 00:34:26,966
or centered
775
00:34:26,966 --> 00:34:28,700
centered is usually um
776
00:34:28,700 --> 00:34:29,566
the way I go
777
00:34:29,566 --> 00:34:32,500
it really depends on which edge you rotate uh
778
00:34:32,500 --> 00:34:35,633
did you rotate to the outside of the motion blur
779
00:34:35,766 --> 00:34:38,200
or did you rotate to the inside edge of the motion blur
780
00:34:38,200 --> 00:34:40,900
or from the center or somewhere in between
781
00:34:40,900 --> 00:34:42,633
you can use a custom value
782
00:34:43,000 --> 00:34:46,266
and turn that up or down depending on
783
00:34:46,766 --> 00:34:48,200
uh what looks right
784
00:34:49,666 --> 00:34:53,800
and these controls are identical to the motion blur
785
00:34:53,933 --> 00:34:56,166
controls inside each of your shapes
786
00:34:56,733 --> 00:34:58,333
so if you go to the transform
787
00:34:58,333 --> 00:35:00,166
uh I'm sorry
788
00:35:00,166 --> 00:35:03,866
if you go to the uh shape tab of each of these shapes
789
00:35:03,966 --> 00:35:05,166
um and by the way
790
00:35:05,166 --> 00:35:07,300
each of these tabs inside the roto node
791
00:35:07,300 --> 00:35:10,000
is specific to the shape that you have selected
792
00:35:10,166 --> 00:35:12,933
um so inside each one of these uh
793
00:35:12,933 --> 00:35:15,633
you can also choose number of motion blur samples
794
00:35:15,733 --> 00:35:19,900
uh number shutter speed and shutter offset
795
00:35:19,900 --> 00:35:23,000
just like the controls in the Transform Note
796
00:35:25,700 --> 00:35:28,666
so one other useful feature of the Roto node is
797
00:35:28,666 --> 00:35:30,600
uh you know
798
00:35:30,600 --> 00:35:32,800
when you're looking at an alpha channel with a
799
00:35:32,966 --> 00:35:34,133
with a Roto node
800
00:35:34,133 --> 00:35:36,533
you can't see the default white uh
801
00:35:36,533 --> 00:35:37,800
so you can change the
802
00:35:38,533 --> 00:35:40,700
display color to something more visible
803
00:35:40,800 --> 00:35:44,066
so if if you're rotowing something that's very
804
00:35:44,066 --> 00:35:44,966
very bright
805
00:35:45,066 --> 00:35:47,400
um it might be useful to
806
00:35:47,866 --> 00:35:48,866
to separate
807
00:35:49,300 --> 00:35:52,066
out different parts of the shape by by color
808
00:35:52,333 --> 00:35:54,266
as well to make your life a little easier
809
00:35:55,000 --> 00:35:58,333
the other box next to that is the actual output color
810
00:35:58,333 --> 00:36:01,766
so if I wanted to animate
811
00:36:02,700 --> 00:36:03,666
the animator
812
00:36:03,666 --> 00:36:05,733
change the value of the alpha channel
813
00:36:05,733 --> 00:36:07,166
you can do that in here
814
00:36:07,333 --> 00:36:09,066
in this specific case
815
00:36:10,000 --> 00:36:12,433
the rotornode is capable of outputting
816
00:36:13,066 --> 00:36:14,833
RGB and alpha channels
817
00:36:15,333 --> 00:36:17,366
or any other channel that you specify
818
00:36:18,666 --> 00:36:21,966
but in this case I'm only using the Alpha so whatever I
819
00:36:22,300 --> 00:36:24,900
plug in here isn't gonna affect anything at all
820
00:36:26,866 --> 00:36:29,966
and then this box here
821
00:36:29,966 --> 00:36:33,633
indicates whether or not the roto is inverted so if
822
00:36:34,566 --> 00:36:36,233
just to do a quick example
823
00:36:36,800 --> 00:36:39,366
if I make a shape
824
00:36:43,166 --> 00:36:44,266
and use that
825
00:36:44,400 --> 00:36:46,733
that just inverts um
826
00:36:46,733 --> 00:36:48,800
inverts the shape so that it makes
827
00:36:48,800 --> 00:36:52,133
white on the outside and black on the inside um
828
00:36:52,133 --> 00:36:53,266
the other option
829
00:36:54,300 --> 00:36:58,466
next to that is the uh blending mode uh
830
00:36:58,666 --> 00:37:01,900
for this all we needed was over um
831
00:37:02,566 --> 00:37:03,666
if you're doing some
832
00:37:03,666 --> 00:37:06,100
other complex operations inside of the roto node
833
00:37:06,100 --> 00:37:08,800
you can change this to to whatever you need um
834
00:37:08,800 --> 00:37:09,700
but that brings us
835
00:37:09,700 --> 00:37:11,466
right into what I was gonna cover next
836
00:37:11,466 --> 00:37:14,533
which is how to use um roto from other applications
837
00:37:14,533 --> 00:37:15,766
and then how to manipulate it
838
00:37:15,766 --> 00:37:18,166
so let's go ahead and uh
839
00:37:18,166 --> 00:37:19,766
and import some of that roto
840
00:37:19,766 --> 00:37:24,133
so the first one I'm gonna show is from silhouette um
841
00:37:24,133 --> 00:37:27,066
silhouettes are really popular rotoscoping program oops
842
00:37:27,400 --> 00:37:29,166
you can't read it in as a read note
843
00:37:29,166 --> 00:37:30,633
you have to import it
844
00:37:31,000 --> 00:37:32,900
so import script file
845
00:37:32,900 --> 00:37:33,900
import script
846
00:37:34,466 --> 00:37:35,833
and navigate to it
847
00:37:42,666 --> 00:37:44,900
so silhouette roto um
848
00:37:45,733 --> 00:37:48,266
always if if it's been exported correctly
849
00:37:48,266 --> 00:37:50,566
um it'll come in as a group
850
00:37:51,200 --> 00:37:52,766
so to to look at that group
851
00:37:52,766 --> 00:37:56,033
you just hit the s key inside the node and um
852
00:37:56,466 --> 00:37:59,700
silhouette hasn't quite caught up to um
853
00:37:59,733 --> 00:38:01,133
to the latest nuke yet
854
00:38:01,133 --> 00:38:02,633
uh as far as I know
855
00:38:02,700 --> 00:38:04,200
so it still uses
856
00:38:04,933 --> 00:38:07,300
um besea notes as uh
857
00:38:07,300 --> 00:38:12,100
as the roto object and they're just basically legacy um
858
00:38:12,200 --> 00:38:14,866
legacy notes that they don't put in the menus anymore
859
00:38:14,866 --> 00:38:16,700
but they still exist in the program
860
00:38:16,700 --> 00:38:17,733
so in this example
861
00:38:17,733 --> 00:38:19,600
I'm gonna copy the uh
862
00:38:19,766 --> 00:38:22,900
the roto out of the group so that we can
863
00:38:22,900 --> 00:38:24,366
kinda work with it easier
864
00:38:27,400 --> 00:38:29,133
but I know I happen to know
865
00:38:29,133 --> 00:38:31,666
but um if uh
866
00:38:31,666 --> 00:38:33,666
if I had just gotten this from from someone
867
00:38:33,666 --> 00:38:36,100
I wouldn't have known that the uh
868
00:38:36,100 --> 00:38:39,533
that the frame range is not correct on this roto uh
869
00:38:39,533 --> 00:38:40,566
in silhouette
870
00:38:40,700 --> 00:38:43,933
the roto was done from 1 to 100 uh
871
00:38:43,933 --> 00:38:47,833
this clip runs from 20:307 to 20:407
872
00:38:48,066 --> 00:38:49,600
so I'm gonna have to do some
873
00:38:49,600 --> 00:38:51,533
offset on the roto to make it work
874
00:38:51,533 --> 00:38:56,400
so the one of the great ways to do that now in uh
875
00:38:56,400 --> 00:38:58,066
in nuke is they've added the
876
00:38:58,066 --> 00:38:59,066
uh dope sheet
877
00:38:59,066 --> 00:39:00,000
before you could
878
00:39:00,000 --> 00:39:01,700
of course do this in the curve editor
879
00:39:01,700 --> 00:39:04,166
and select all the keys this way and move it over
880
00:39:04,166 --> 00:39:07,500
um but if you have a lot of different things open um
881
00:39:07,500 --> 00:39:09,000
or you have a lot of different curves
882
00:39:09,000 --> 00:39:10,300
on the graph at the same time
883
00:39:10,300 --> 00:39:13,300
or if the motion isn't exactly um neat
884
00:39:13,466 --> 00:39:17,133
uh you could end up destroying the motion by accident
885
00:39:17,133 --> 00:39:18,333
uh so they've added the
886
00:39:18,333 --> 00:39:18,866
the dope sheet
887
00:39:18,866 --> 00:39:19,766
which is really
888
00:39:19,766 --> 00:39:20,933
uh great tool
889
00:39:20,933 --> 00:39:23,100
I'm very happy that they added it
890
00:39:23,133 --> 00:39:26,066
um it lets you select uh
891
00:39:26,066 --> 00:39:28,700
clips or keyframes and uh
892
00:39:28,700 --> 00:39:31,566
drag them much easier
893
00:39:32,200 --> 00:39:33,833
than using the curve editor
894
00:39:34,333 --> 00:39:36,466
um the controls for navigating it are
895
00:39:36,466 --> 00:39:38,200
basically the same as the
896
00:39:38,200 --> 00:39:39,433
as no graph
897
00:39:39,733 --> 00:39:42,200
so just go in there and put frame 1 on
898
00:39:42,200 --> 00:39:43,700
the first frame of our sequence
899
00:39:43,700 --> 00:39:45,633
and there we go
900
00:39:46,200 --> 00:39:47,800
that lines up pretty well
901
00:39:53,700 --> 00:39:58,066
so I'll also go ahead and import that roto from Mocha
902
00:40:01,200 --> 00:40:03,366
here we go and Mocha is
903
00:40:03,366 --> 00:40:05,500
a little better about keeping up with nuke
904
00:40:05,500 --> 00:40:07,666
it makes a Roto paint node
905
00:40:07,666 --> 00:40:09,966
which is basically the same thing as a Roto node
906
00:40:09,966 --> 00:40:13,300
except it has extra functions for painting
907
00:40:13,566 --> 00:40:16,800
um we'll definitely get into those a lot later in the
908
00:40:16,800 --> 00:40:17,866
in the course
909
00:40:18,000 --> 00:40:20,400
um but for right now we have uh
910
00:40:20,400 --> 00:40:23,366
one spline in that uh
911
00:40:23,366 --> 00:40:25,233
in that Roto paint node with
912
00:40:25,266 --> 00:40:27,300
the same problem as the silhouette Rotto
913
00:40:27,400 --> 00:40:31,066
so now we know how to uh tackle that
914
00:40:32,533 --> 00:40:34,800
we just uh drag our keyframes over
915
00:40:38,766 --> 00:40:40,666
and this one has a little different
916
00:40:40,666 --> 00:40:42,100
frame range than before
917
00:40:42,100 --> 00:40:44,033
frame one of uh
918
00:40:45,700 --> 00:40:49,700
of the roto is not frame one of
919
00:40:50,766 --> 00:40:52,566
um of the clip
920
00:40:53,166 --> 00:40:56,033
so I could go in
921
00:40:56,266 --> 00:40:59,333
uh and ask whoever did it in mocha or go check myself
922
00:40:59,333 --> 00:41:02,866
what frame should be the first frame um
923
00:41:03,800 --> 00:41:05,533
but uh in a production
924
00:41:05,533 --> 00:41:06,900
you know you always have to keep moving
925
00:41:06,900 --> 00:41:09,966
so sometimes it's easier just to kinda eyeball it
926
00:41:09,966 --> 00:41:11,800
so I know I happen to
927
00:41:12,166 --> 00:41:13,933
you know it's pretty obvious that it's this car
928
00:41:13,933 --> 00:41:16,533
so I'll just move it into the right place
929
00:41:16,533 --> 00:41:18,800
and there we go
930
00:41:22,766 --> 00:41:25,600
great and now I can I can edit that roto or
931
00:41:25,600 --> 00:41:27,966
or fix it or do whatever I need to
932
00:41:27,966 --> 00:41:30,100
to make it to make it perfect
933
00:41:30,966 --> 00:41:33,333
so the last thing that we're gonna cover in the class
934
00:41:33,333 --> 00:41:36,066
uh in Class 1 rather is um
935
00:41:36,066 --> 00:41:38,866
is how to manipulate this roto
936
00:41:38,866 --> 00:41:44,500
so we now have um three elements we have one car
937
00:41:44,566 --> 00:41:46,166
we have the other car
938
00:41:46,800 --> 00:41:48,866
and we have our biker
939
00:41:49,866 --> 00:41:55,566
let's say we wanted to isolate this car specifically um
940
00:41:55,933 --> 00:41:58,433
and we have the roto that lives in
941
00:41:58,666 --> 00:42:00,100
three separate places
942
00:42:00,933 --> 00:42:04,800
um I'll go ahead and label this car car to
943
00:42:09,200 --> 00:42:11,566
so what we're looking to do is basically
944
00:42:11,866 --> 00:42:13,600
cut out this car
945
00:42:15,666 --> 00:42:17,066
with this roto
946
00:42:18,933 --> 00:42:21,466
so one of the more efficient ways to do that is to use
947
00:42:21,466 --> 00:42:22,666
a channel merge
948
00:42:23,366 --> 00:42:25,266
so uh we're gonna make the
949
00:42:25,266 --> 00:42:28,800
a input our car roto and the B input our biker roto
950
00:42:29,166 --> 00:42:30,733
and just look through that by default
951
00:42:30,733 --> 00:42:33,700
the channel merge operation is set to union um
952
00:42:33,700 --> 00:42:36,533
this has a lot of the same options as a merge node
953
00:42:36,533 --> 00:42:37,566
so if you mouse over it
954
00:42:37,566 --> 00:42:40,266
you get a mathematical description of of each
955
00:42:40,400 --> 00:42:42,333
uh the one we want uh
956
00:42:42,333 --> 00:42:44,866
we wanna just isolate the parts of the car
957
00:42:44,866 --> 00:42:47,233
so what we want is an out
958
00:42:49,533 --> 00:42:51,966
and so if you look at the math of an out
959
00:42:52,166 --> 00:42:54,666
it's uh it's 8 times one minus B
960
00:42:54,666 --> 00:42:58,000
so remember this is our a and this is our B
961
00:42:58,933 --> 00:43:01,900
so if we take a look at a pixel inside here
962
00:43:01,933 --> 00:43:04,366
we have a in this case one
963
00:43:06,566 --> 00:43:12,300
times multiplied by 1 minus b so 1 - 1 is zero
964
00:43:12,366 --> 00:43:15,800
so in this pixel we get 0
965
00:43:17,300 --> 00:43:21,600
so then all we do is just put that in our pipe
966
00:43:23,266 --> 00:43:25,366
and there we have it
967
00:43:25,566 --> 00:43:28,233
so if we look at our rotor check now
968
00:43:28,966 --> 00:43:33,200
um now it's going to be highlighting the uh the car
969
00:43:33,900 --> 00:43:34,833
not the biker
970
00:43:38,300 --> 00:43:40,200
so there we've isolated that car
971
00:43:40,300 --> 00:43:42,600
and we can do the same thing um
972
00:43:43,000 --> 00:43:46,800
we can add motion blur to that as well
973
00:43:55,733 --> 00:43:56,533
oops
974
00:43:57,866 --> 00:43:58,666
there
975
00:44:01,500 --> 00:44:03,433
so now that has some motion blur on it
976
00:44:12,166 --> 00:44:13,366
and the last car
977
00:44:16,800 --> 00:44:19,633
this one is getting cut out by both
978
00:44:19,666 --> 00:44:22,000
so now that we have um
979
00:44:23,333 --> 00:44:26,433
all these elements we can make another channel merge
980
00:44:27,600 --> 00:44:29,466
and this time what we want to do
981
00:44:30,866 --> 00:44:32,333
is instead of uh
982
00:44:32,333 --> 00:44:33,733
cutting the first car with the other
983
00:44:33,733 --> 00:44:37,566
we can use the default behaviour of the um
984
00:44:37,933 --> 00:44:38,966
of the channel merge node
985
00:44:38,966 --> 00:44:39,766
which is a union
986
00:44:39,766 --> 00:44:41,466
so we're getting um
987
00:44:41,766 --> 00:44:44,500
we're getting white for where they both are
988
00:44:45,100 --> 00:44:49,300
and do the same kind of thing with the um
989
00:44:49,300 --> 00:44:50,066
with the other car
990
00:44:50,066 --> 00:44:51,633
so make another channel merge
991
00:44:52,333 --> 00:44:55,400
and do the same kind of thing
992
00:44:57,166 --> 00:44:58,100
with the car
993
00:44:59,600 --> 00:45:00,400
out
994
00:45:02,200 --> 00:45:04,766
there we go so if we plug that in
995
00:45:13,500 --> 00:45:14,833
there we have that car
996
00:45:17,566 --> 00:45:19,866
getting cut out by both of those shapes
997
00:45:22,500 --> 00:45:23,700
so this is uh
998
00:45:23,700 --> 00:45:25,966
really useful if you know
999
00:45:25,966 --> 00:45:28,200
you have a ton of different types of mats
1000
00:45:28,266 --> 00:45:29,700
and you just wanna
1001
00:45:29,933 --> 00:45:30,866
um you know
1002
00:45:30,866 --> 00:45:33,100
use them to get the most out of your
1003
00:45:33,366 --> 00:45:34,200
out of what you've got
1004
00:45:34,200 --> 00:45:36,100
so you don't have to roto something new
1005
00:45:36,266 --> 00:45:38,500
um knowing how to manipulate alpha channels
1006
00:45:38,500 --> 00:45:40,066
is a really powerful
1007
00:45:40,566 --> 00:45:42,800
powerful piece of knowledge uh
1008
00:45:43,166 --> 00:45:44,733
so you know
1009
00:45:44,733 --> 00:45:46,266
we're gonna be using all
1010
00:45:46,266 --> 00:45:47,166
all kinds of uh
1011
00:45:47,166 --> 00:45:50,800
different merge operations in the coming classes
1012
00:45:50,800 --> 00:45:52,733
so get used to seeing this tool tip a lot
1013
00:45:52,733 --> 00:45:55,466
if you ever get confused about what something does
1014
00:45:55,466 --> 00:45:57,333
you can always look at this and
1015
00:45:57,333 --> 00:45:59,966
and figure it out mathematically
1016
00:45:59,966 --> 00:46:01,200
remember there's only
1017
00:46:01,333 --> 00:46:02,666
there's only two so it's
1018
00:46:02,666 --> 00:46:04,966
it's your a and your B
1019
00:46:06,133 --> 00:46:08,100
um and just kinda do the math and
1020
00:46:08,100 --> 00:46:10,900
and figure out what it all means um
1021
00:46:10,900 --> 00:46:13,900
and of course I'll be available in the forums to
1022
00:46:13,900 --> 00:46:15,733
to answer questions about
1023
00:46:15,733 --> 00:46:16,466
um you know
1024
00:46:16,466 --> 00:46:18,733
what some of them might be used for and
1025
00:46:18,733 --> 00:46:20,966
and other things like that um
1026
00:46:20,966 --> 00:46:22,466
but there's no substitute for
1027
00:46:22,466 --> 00:46:24,000
knowing where to go for the
1028
00:46:24,000 --> 00:46:25,000
for the answers
1029
00:46:25,200 --> 00:46:30,100
um so thanks for joining me for class one um
1030
00:46:30,266 --> 00:46:33,333
had a great time and I look forward to seeing you again
1031
00:46:33,333 --> 00:46:36,666
next class is gonna be taught by Charles uh
1032
00:46:36,666 --> 00:46:40,566
he's gonna be going over some 2D paint techniques and
1033
00:46:40,566 --> 00:46:42,366
uh that should be a lot of fun um
1034
00:46:42,366 --> 00:46:43,266
we're really gonna
1035
00:46:43,266 --> 00:46:45,400
get going into some really cool stuff next
1036
00:46:45,400 --> 00:46:47,100
next class so uh
1037
00:46:47,133 --> 00:46:49,466
look forward to seeing you thanks
74749
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