All language subtitles for nuk214-class04

hello everybody

Charles Le Page here

welcome back

and today we're gonna discuss keying

uh kings of very romanticized uh process

but I'm sure as all of you have figured out by now

that it is generally pretty horrific

so I have cleverly chosen

this little shot here

which involves a

romantic couple that is shot horrifically

so let's take a look at this

oh yuck okay

so we have quite a few problems here

that we can notice right off the bat

um typically when you're keying

you want a shot that is

uh nice and even across the background

Chroma and uh

your subjects stand out from

from the background

and you don't want gradients in your blue screen

as you can see when we play through this

we have none of that

so today we're gonna discuss some techniques for how to

uh get this shot to a keyable state

and then we'll discuss some of the keying techniques

uh that I use

uh more often than not when I'm keying shots

so we'll discuss a few gears and

a few different techniques

that should hopefully make

keying a little bit more black and white okay

so first things first

when you get into a shot

we're gonna wanna analyze it

and see exactly what we have to do

um in order to key this properly

we're gonna wanna try and get to uh

as even a gradient as we can in the background

or at least keep it consistent

um some of these dark areas would be very hard to key

uh just cause the values are so low

so we're gonna wanna pick a frame

say around here

we'll probably go with something like 4

one of the brighter frames with a

with a pretty decent background um

this shot also has a lot of noise in the blue channel

unfortunately

which is an ideal for keying but uh

we'll go over

a quick method to take care of that as well

and typically

you'd want to also

paint this out or clean up this background

any sort of creases like that and

put this woman back on top

but I'm gonna try

uh to leave that in there

and we'll use

uh the IBK um

to try and key that out by itself

to save us a little bit of paint work

alright so with that

we're gonna wanna bring up a

a grade node here

and a frame hold

and the reason for

the framehold is that I just wanna want some

something to refer to that I can wipe between uh

and match my grade 2 on a frame by frame basis

so I think we saw shot 4 was pretty good

come out of the blue channel

yep so frame 4 I'm sorry

so frame 4 we'll use and

we'll use our wipe with the W key here

and begin to grade

okay so let's talk about what we're looking for

in this grade

what we wanna do is we wanna match the blue screen

uh to this bright frame that we've chosen

so that we get this

sort of nice blue screen throughout the entire shot

and then we'll need to animate it so that uh

the flashing light doesn't occur anymore

so we're not

uh too concerned with the color of

the foreground characters because we'll be using the

original plate anyway

uh once we pulled the key

so we wanna

just pay special attention to the blue screen

especially between our two lovebirds here

and uh see how close we can get it to match

so we're gonna start by um

it'll be mostly a gamma shift

I believe so bring our gamma up

and we'll bring our gain up a little bit too

and probably I multiply a little bit

here we go right off the bat

we're getting some pretty good results

um we can check our blue channel and see how that looks

and our green channel is our green channel as well

just to make sure

we're not causing any differences anywhere

and blue channels a little bit different

so maybe we could

mess around with our game a little bit there

bring in some more blues

and whenever I'm grading something I I

I try to break it first and then come back from there

just so I'm not being too timid

and taking forever to get to my values

uh because after all

we are not using this for a final colour

so we can be pretty quick with it

and when we go back into our blue channel

we've got a pretty good thing going on there

we do have a fair amount of difference

in the shadows here

so maybe we could try adjust that by our black point

um you have to be very sensitive with the black point

so we'll start really nice and low

and that's not at all what we want

but we just bring it up to uh point zero zero one

we get a nice uh

a nice value there

that's pretty consistent

so if we go back to zero you can see

uh it doesn't do a whole lot

but it does do a little bit

so I'm gonna keep it yeah

I'm happy with it

and now we're gonna go on to talking about

animating this grade and getting rid of that

uh flicker once and for all

okay so now we're gonna wanna go in here

and animate our grade

uh so get rid of that flicker

um we could go through here and set keys on our

our grade values and and animate those

but that'll take quite a long time

so I'm gonna use our trusty old

dissolve node

and I will animate the slider in here

so that uh oops

get our white back on our frame hold there

so that we can uh mix our values

uh to match the light as it comes and goes

in the scene so

just that's a shift x right there to change your input

I really like that

that's a handy one um

I'll have my 0 on my original plate

and my 1 on my changed one

just to help me make sense of the situation

so we'll start by setting a key here

and we're gonna probably 100%

since that's the frame we originally graded

and we'll work our way through this timeline here

up for that's when the light flashes on

so we can probably get rid of everything there

and carry on

and actually

we're gonna wanna check the frame beforehand

because yep

that's just like I expected

the slider started animating

so we need to set another keyframe on three

that keeps us at one

and then get a much smoother

transition right there

and then we'll go on with it

slide it up a little bit

and we can go down to our next darkest frame

animate back up to one there we go

and scrub between here and see what happens

we're a little bit off there so go to maybe frame six

see if we can blend that a little bit better and we can

so you get the idea there

I'm not gonna make you watch me do

this whole animated grade

but I will carry on with it and

catch up with you guys when I'm finished

and through the magic of television

I finished animating my dissolve node

um so if I play that back for you here

you see there's a little bit of flickering in the front

uh but not too much in the

in the back

which is what we were most concerned about

I wanna point out that I did make some

adjustments to my grade note as well quickly

uh in my gain I uh

cooled it down a little bit and then added some greens

uh and in my multiply

I warmed up my multiply and added some magenta so uh

that I thought just helped me get a little bit closer

uh just some small adjustments

we may go back and change those later

uh I have not decided yet

so now we've got our animated grade going um

we're gonna look at our next problem and uh

that's the amount of grain that's in

the blue channel that we mentioned earlier um

we're gonna wanna try and soften that up a little bit

and just help with our key

on our edges so that we don't get any sizzling

because uh that is

the bane of my existence when it comes to keying

um we can't use the same method that we use beforehand

um a frame blend because our subjects are moving

and now we won't be able to maintain a good edge

so we're gonna use the furnace node called the d noise

and the reason we're using d

noise and not d grain is because the d grain tool

typically works better on single frames um

whereas the d noise tool

works on sequences

or at least that's what I always use for sequences um

we plug that guy into the chain here and we'll move

the source over to a clean area of the screen

uh if you do have a sample noise plate

you can plug it in here and that works uh

really really well

but unfortunately

uh Christmas only comes once a year

so we don't have that

um so instead

we're gonna set our original color space to SRGV

which is what we have piping in here

and our plate size was pal or NTSC

put those together

and you can see that drastically improves our results

um we do have some outlining here uh

that we want to be careful of

uh there's a suppress ringing check box

which may help us out a little bit

check it out and

does help a little bit doesn't do a whole lot

um and doesn't seem to be slowing it down too much

so we'll leave it on for the time being

uh now you can go in here to the fine tuning tab

and or the tune tab

and you want this to be as close as you

can to getting rid of all the noise

but without causing any

uh artifacting or anything

so we can go in here and

and mess around with our values a little bit

and see what will give us the fastest

d noise node and

the best results

and typically one works pretty well

not always but sometimes

and today it's not looking like it's doing too bad

so we can start from there and go on to keying

and if we need to

we can come back and adjust those values later

cause that's the beauty of node based compositing

so look at our color channel

and we got a pretty clean color channel

look at that handsome man right there alright

so now we'll move on to the actual keying stage

now that our our plate is nice and clean and uh

deflickered

okay and just before I move on to the king

I'd like to mention that if you

there's another tab in here I didn't really cover

which is the analysis

um if you want to use this region right here

you can use uh sample region and uh select that

and that will give you an alternate result

as opposed to autoanalyse

um that'll leave a little bit of grain in there

um I was having better results with the

auto analysis and I typically do

so I will leave it on that for the time being

but I just wanted to bring that up

and you can mess around with these settings and uh

the size of the region and

and what specific frame you want

um if you feel like

you're getting better results that way

but for now I'm happy with this result uh

we can always come back and change it like I said

uh so we're gonna move on to doing some keying

okay so to key the shot today

I'm gonna attempt to use the IBK um

no promises that it'll work

I often end up switching keys uh halfway

halfway through

sometimes before I leap into keying

I like to spend

two or three minutes with each key that I can

that I have access to through nuke

and see which one yields the best results

and then I'll typically try to find

tune it from there um

keying is meant to be an efficient way of making a mat

so I like to not spend too much time on messing about

but it doesn't hurt to see which

one gives you a good result and work from there

um we're gonna go with the IBK today

because this blue screen in

the background has a nice little gradient there

it has some variation in colour

and uh that's just really what the IBK thrives with

it's an image base Kia

so it pretty much comes up with a difference man

you provide a clean blue frame that

has similar variation to the

blue screen that you have in the shot

and uh the IBK cleverly spits out a beautiful mat

but not without a little bit of effort

so with that we'll dive

right into the IBK

alright so now we'll move on to keying

I'll bring in the IVK gizmo here

alright we're not gonna get to the color just yet

but we'll discuss that in a few seconds

we'll put that into our pipe

and bring in a background plate

I typically use a checkerboard uh

cause it has a nice variation of values

and that way when your background comes in

um and it ends up being white instead of the black

you expected

you don't have to finesse your key too much

unplug the background in there and uh

I'll show you one way

a common way that people use the IBK

they'll use

use it as a

standalone without having a color plate come in here

and to do that they'll

adjust the screen type to pick

select your colour picker here

and then alt click on the background

and you can see we get some funky results

it sort of jumps between the blue and the

and then back to the

to the plate

and if you're gonna shift select it

it pops all over the place

and the reason for that is

you're not selecting from your source

you're selecting from the image there so uh

you wanna select from the input pipe

so hold down the alt key while doing that

and then you can

I have more control over it

and it'll be a little less sporadic

so we go into our alpha channel here

and click around

some of these values here and

and just make sure we're

not barking up the wrong tree by using the IVK

and you can see we're

getting some pretty good results here

so that makes me feel good about sticking with this

as a cure uh

if we're having a lot of trouble with this and

uh look like we're having holes all over the place and

not getting good results

maybe I'd abandon the IBK

but I'm pretty confident with what we're getting here

so um I will show you some clean plate uh

techniques that I use uh

that don't involve the IBK colour

that's an alternate method

um but I found it to be pretty successful in a

number of scenarios

so hopefully you guys will too

so we'll move on to that

at the moment

change this back to sea blue and

start making a sea blue

I'm gonna talk a little bit about generating my own uh

clean plate input

if I had uh a shot of

this scene without the actors in it

um that would be ideal to use because the IVK would

pretty much spit out a perfect key with little effort

um but like I said before uh

Christmas does only come once a year and that is a very

rare occasion that you'll have

a clean plate without the actors in it

so or one that matches

the lighting without the actors in it as well so um

I like to try and use what I have to create a clean

clean frame uh

they do have the IBK color

which I'll bring in here to

talk about for a few seconds

um which does pretty much what I'm saying however

when you plug it in

you can see right away that

it softens up a lot of that background there

and uh when we look at our

our plate that we've

we've made to key

we've got a nice solid line here

we got really good gradient that matches

matches the original plate pretty well um

so that's what I wanna try to preserve

the IVK color gets rid of that a lot

so you'll find that uh

this really

hard edge will still show up in your key sometimes

so I'm gonna show you an alternate route

besides the IBK color

that can give you a pretty good result

you can plug into your C input and uh

get a decent amount out of

and this work for me in a

in a few scenarios

so hopefully it'll work for you guys as well

uh it may seem a little confusing to begin with

but bear with me and uh

I'm sure I've

managed to tie it together towards the end

so we're gonna start with just a nuke here

and we're gonna set this guy aside

the IBK gizmo for a little while

since we're not gonna need him until we get back

with our clean plate so this uh

key that comes standard with nuke is a great little key

um I use it all the time

uh especially when I just need to uh

pull quick keys for

um clean plates and things like that

you saw me use it with the helicopter um

it's a it's a good one to explore

and see what you can get with it

the red key is a

really handy

especially when you're trying to bring some detail back

from an original plate to put it on top of a key

you've been trying to get like hairs and

and little amounts of detail that

you sometimes lose when you're pulling the key uh

but right now we're gonna use this uh

to help us get our uh

clean plate

for the IBK

so we're gonna go to

we're not gonna use a blue key or we're gonna try

the blue screen key and see what happens um

it doesn't look too promising right now

but if we bring uh

bring up this

this bottom slider

it'll start pulling some of that blue out of our

out of our shot

and uh we just wanna

we wanna a kind of a dirty key here

cause we're gonna

use it for something else

and then our

our real key will be coming from our IVK

so what we're using this key for is we wanna

put blue over the top of our plate in order

to generate that that clean plate

so we don't wanna go too tight on this key because

we needed to overlap a little bit

we needed to bring in some of those values of blue

uh so the IBK can

uh do the rest of the detail

and refine the edges and things like that

so we'll try something like this

uh slide it up around here and uh

see how these values do

so go back into our color channel

and bring in our friendly copy note

and uh for our B

for our B pipe or our RGB

we're gonna wanna bring in a constant

and we'll connect that to our B pipe

and we want our constant colour

grab our colour picker here to be something

something like the blue around our characters

so we'll go for just a quick click there

and see how that looks

we'll need a

our friend the premult to throw under there

all right and then we'll over this

back over our plate and see what it looks like oops

we still want that to stay up there

and leave our color attachment

okay so what you can see

now where we're going with this

it's giving us a pretty good clean plate um

bring that IVK colour back in here

uh to compare the two

so you can see our differences there

um especially around these areas

uh so we'll try to stick with ours and see

see how it goes um whoops

we may need to mess around with an

erode or something to try and to try

and cover those edges and we can kind of work

simultaneously while we're pulling our IBK

so we'll bring it in a road here

just a simple one

and whoops that's the wrong way

so just try cover up some of those edges and make it um

as blue as possible without losing

too much of what we

what we're hoping to get there

we don't want to lose too much of that detail

so we don't go

don't want to go nuts with it

still be pretty careful but

so we can come over here and see how our IBK is doing

uh looks pretty good over black

which is generally the case

but if we take a peek at our alpha channel

we'll see we've got a long way to go with our

key over here

so we can move into uh

into the IBK

and start messing around with some of these sliders

uh we got our screen type and stuff selected already

colour doesn't matter because that's only uh

for when we're set to pick

um our red weight and green weight that uh

it'll be a green weight in this scenario

cause we're using a blue screen

these sliders will determine how much uh

each channel is weighted in the uh

keying algorithm

so uh you can see if we

if we bring our red down

here we'll start to get some holes

uh in areas that

uh contain uh

reds and greens

so you can see if we bring our cider down here

we'll start to get holes in

the areas that contain a lot of blues and greens

I like the highlights on this woman's chest here

uh so we wanna mess around with those and find uh

find a comfortable medium that doesn't

introduce too many holes

um but most of all doesn't affect the edge

uh cause while we're keying

the most important part are these

edge pixels right here

we can go in and fill in any holes that might be caused

uh in the middle while with hold out mats and uh

if Roto if need be

but uh the key component

if you will

is these very edge pixels

so uh we can also come down here to the luminance match

which will add luminance math into the king

uh into the difference mat algorithm

so turn that on

and uh this can sometimes affect

the alpha channel pretty significantly

so if we pull this slider down

you can see

uh there are results are pretty good up there we're

losing a lot of that dark blue that we didn't want and

uh still maintaining some of that detail in the

hair and stuff here

uh which brings me to another point

uh the whole reason we'd created that uh

clean plate over there was to help us with this uh

dark blue line here

um and we it's still showing up in our key

so we're gonna wanna go back and address

uh that I have brought in uh roto paint tracker here um

and I am going to

uh include that in my uh in my key here so

I want this key

but I want it outside

of this rotor shape that I've made

so

what I want to do

is I want shift X

I want a outside of the

so I use some techniques that we used in the

uh Clean Plate tutorial to get this just tracked uh the

the blue screen uh off of this point here and um

just drew a rotto shape and tracked it in

so now you can see that we have

our our desired result

we have our main key

outside of that area

so when we come into our merge here

you see that we got that nice solid line

and then when we revisit our IBK

you can see that that's completely gone out of our IBK

which is exactly what we wanted

so we'll leave that in there and see how that works out

and we can go back and address it if we need to

at a later date

and we'll get back over to our IBK

and maybe pull on these values a little harder now

and we wanna check our original make sure

what we're getting in is actually hair and not fuzz

so you can still probably pull on that

guy a little bit more

break it and then go back

excellent and we can start from there

okay so now we're gonna wanna

it's difficult to tell what's happening with the key

uh over black like this

so we're gonna wanna start uh putting our comp together

uh roughly now

one thing you can do with the IBK is you can do a comp

through the IBK

so let me give you an example

uh say we wanna merge these guys

we wanna merge a with B

press our m key

and right there

you can see our results that we would be getting uh

and right there is starting to be a comp however

I strongly recommend

not doing a comp through the IBK

uh I have run into scenarios where

I thought it would be a good idea

and it turned out not to be

uh for instance

if I wanted to reposition my foreground plate and uh

not my background and stuff

it was uh becoming more tricky than it needed to be

and with other people working with your comps

especially in a pipe pipeline

when you maybe have to hand off your

key to someone else

last thing you wanna do is have to explain

how you put your comp together

and what tricky way you have to have a work around

so typically the way I'll put these together is I'll

use our friend

the copy note again

and I'll take my alpha channel

from all the mats that I will compile

and I will take my

colour plate

from our original

and I will over that over my background

and you can see we get some funky discoloration here

and the reason

for that is probably because we don't have a

premult in there

and it is so you can see that if we do it this way

we get a very similar result

uh however it's much easier to work with

especially if someone is coming in to continue the comp

and maybe do some repositioning or something

so I would strongly recommend

using it only your alpha from your IBK

alright that being said

let's get back to the IBK

and we'll start to get these edges as close as we can

uh without bringing in any

uh contamination

and then we'll start uh

blocking in some holdout mats and uh

maybe doing some reto if need be

so I'm gonna shuffle out my alpha channel here

so I can look at my over and see what's coming

out of my IBK

bring in our shuffle again

this is just temporary uh

so that when we look at our

our merge we can see what's going on there

and I'm gonna start messing around with our uh

with our IBK

uh maybe uh use our luminance level enable here

and this will bring out some values of our

our luminance that we don't want added to our algorithm

um and see if that's doing much for me

it probably won't till we get close

like I said

and we can maybe just pull

off some of that ringing that happens around the nose

with that slider

which is extremely helpful

and just bring these guys in as close as we

can get them

we like to fly by the seat of our pants here

and like I said

I'm not too worried about areas like that

that we can roto out uh

I typically

Wanna focus uh

eye areas are very noticeable

any noise you get around people's eyes

or these guys are kissing so near their lips

uh the center of focus is really what you wanna

wanna pay attention to

so you can see we're getting some pretty good results

for our edges here

but we're gonna need a holdout mat

I know we're not gonna be able to get this

all with one key

uh you rarely can

so I'm gonna explain a little bit about

making a hold out key

uh to fill in some of these areas here

and then we can uh

see what else we need to add on top with our

our detail key

so we're gonna do our holdout mat with Primet

uh cause we can probably get a pretty decent key

quickly with it

we're gonna wanna hook that up to our original d noise

and uh for the most

part all the all the default stuff that we have is

is gonna be just fine for here

we've already done our degrade and everything like that

we'll use our algorithm as uh normal primeant

and uh we'll just come in here and

select our background colour

so we wanna select a colour that we think is

very representative of our background

um that one looks pretty good there

so we'll command click on that

and we can look in our alpha channel

and see what else we need to do

and since this is a hold out mat

we don't need to be too careful with it

we come down to our drop

drop down menu and start cleaning our background noise

so we wanna be careful with this

you don't wanna just sweep select a bunch of colours

cause then you might reintroduce something that

you don't want

so I uh typically stay close to the edge that I want

um we could probably get all of this out uh

pretty quickly there

and just select a few colours at a time

and make sure

you're not affecting your overall edges too much

and you're including all the

naughty colour values that you don't want

like those ones

and since this is for a holdout mat uh

we can be a little more aggressive than we

typically would be if we were uh

using Prime Mat for the overall end result

uh accidentally change frames there

which isn't too bad because

we wanna keep an eye on the whole picture

not just one frame

it's easy to get a key looking good on one frame

and it's difficult to get it looking good overall

and since this is a hold out mat

we're gonna wanna make sure we

don't have many of these values there

so we'll select clean foreground noise

and start Control command clicking on here

and really getting those values that we know

are gonna be troublesome

so that's pretty good for a uh

for a holdout mat or

uh even maybe a key

but we'll use it for a holdout mat

will maybe add a little bit of an erode

blur under there

so uh the erode a road blur note is cool because uh

you can erode a certain amount and then

blur out to the pixel you eroded from uh

this is almost like a percentage that would be 100% uh

to fifty percent etcetera

so we'll adjust that accordingly and

put those together as probably a little bit big

but we'll just bring it back a little bit

blur it back out to itself

so we get some uh nice

soft edges blending back into our soft key

and we'll combine those two together with a max

I'll keep my B pipe as my IBK so when I disable that

when I disable that

it still comes through with my IBK alright

so if we look at our alpha there we should uh

not have those holes in there that we had before

and we don't so that's good news

um the best way to check that would be in our over here

yep and you see it

we see that uh our

our woman's chest and uh

and the man's shoulder have been filled in uh

much better than they were before alright

so we're uh back with our newly organized script

um I kept our prep work here

our clean plate work here and our hold down mat uh here

so we keep our down into the right workflow

and also I like to keep my

uh background coming in with a straight pipe uh

as often as I can

uh I also added a little bit of paint work here

uh same technique as we used in uh the paint class

uh from last time

just transform mass

got rid of those guys so they don't appear in

our end shot here

so the keys looking pretty good at the moment um

can't really complain about too many of the edges

uh with the exception of uh this woman's hair

uh they're getting uh

we're losing a little bit of of detail there

and they're just looking a little too soft

for my liking

so earlier I talked about using the red channel as uh

a channel to bring in some details

especially for hair

so let's see whether I was telling the truth or not

so I'm gonna bring in a uh normal Kia here

and now we'll just take a look there what we have

probably gonna wanna bring it in from from the dissolve

so that everything looks pretty similar

and

we'll take a look at our

alpha channel and we're gonna wanna

use the red channel

so we're gonna need a red key

cause that pretty much just shuffles us into

the red channel

and puts it in our alpha

so that we don't have to add an extra node

um and we're gonna wanna just bring this top

top part down just to bring up those those light values

and we'll bring them quite always down

quite a ways down till we're

somewhere around here where they're nice and bright

and then we'll

add those into the mix down here with another max so

throw those in there

and we can take a look at what they're doing

you see they're

they're bringing

uh bringing a lot of those hairs back in

however uh something to be concerned about is

they're bringing this forehead edge up on the guy

and uh the throat on the girl

so we wanna take a look at our

end result and see what we're getting there

and it's looking a little harsh at the moment um

so maybe we can go back

and play with those curves a little

bit until we have what we want in the hair

and uh not anywhere else

but it looks like

we're getting a pretty

pretty solid line

let's make sure it's

it's coming from these guys

uh and we could try

mess around with where we're plugging it into um

I'd like to try to get it from there

but maybe this would be a better option

see if we're getting any new information with that

yeah so maybe it's not too bad to bring from our

our clean plate um

but I don't want it affecting these edges here

it's bringing in way too much blue around the edges

and the chins

and that's just

really ruining what we spend all that time on

so I'm gonna add a uh

roto node here

and I'm gonna just try to isolate this woman's hair um

oops sorry okay

I just wanna isolate this woman's hair here

so that we don't bring in anything from anywhere else

so we'll start with a quick basic shape there

at an extra point

just fade it off up to her head

and then we're gonna wanna go into our colour

and we want to turn some of the shape colour black

and invert okay

so now when we look at this

we have our key only inside this roto shape

so what I did there was I made the roto shape

then I went into the shape tab

turn the color to black

or just to demonstrate we can leave

what happens if you just invert it when it's white

that's the shape

we want and we want the key just inside there

so we wanna invert this and we want that

uh to be the only part of the key

so then we bring this guy down to black and uh

we're left with only what we want there

then we can take a look farther down the pipe

and see how that worked out

pretty well I'd say

there's still a lot of blue in the hair

which is making this look a little funky

so let's add a hue correct node

and we'll drop it in right there

and actually

I've got a good setup here with uh

with my pre molten over

but typically when I'm working with keys

I like to have a little bit of control over my edges

when I'm uh

putting them back over the background

so let's get rid of that premult and that merge

and we'll use an add mix

an ad mix does the premult

uh internally

so we're not gonna need to

add a premult in this situation

uh but the ad mix gives us

the option to control

our edges and pull our background through on our edges

and just darken them or light them

lighten them a little bit with our a and B input

as you can see

it gives us control over those edges that uh

we really wouldn't get any other way

so when I'm keying I

I that sometimes helps to uh

just to really

mix your key nicely with the background

so we'll go back to this hue correct here

so I got a little sidetracked

bring it up

and we just wanna suppress

Wanna find what colour this is in her hair

so apple click up there

and it's pretty much just the blue

so we're gonna grab that and just drag it right down

and bring that blue right out of her hair

so that she's looking a little bit better

and it's not so obtrusive um alright

so we can play with our admix curves if we want to

uh we don't yet but uh the option is there for us

so we're gonna come back

to our key here and make sure that that's what we want

the result we want

we can disable that and enable that

and you can see now it's just affecting her

hair and not so much uh his chin or anything

we're gonna wanna go back to a lighter frame and uh

see how everything's sitting in there

and you can see

her hair is uh

bringing back that detail when we're at one here

her hair really gets that detail we were hoping for

and his face does not

so we can continue adding to this and

uh maybe adding our road blur again

a road that ever so slightly

and soften those edges back up

and just gets rid of those

hard edges that we had there at one point

and let's take a look

now I think our admix curves are

pulling on those a little bit too much

so we'll reset those

yeah that looks much better

okay so we're gonna play that through and uh

I'll just go through and right out of this girl's head

cause we just wanna

keep a nice loose garbage mat around her hair and uh

follow her through to the end

and then we'll play it back and

and see how we're feeling okay

so I finished uh

retowing this woman's hair and uh

we would be ready to continue um

but I ran into some problems

uh opening uh

this script up again after I'd saved it uh

and that's because of the

the d noise here is

is not not working as the way it should be

and that's a good thing for me to point out

typically when I've made a

plate preparation of some kind

whether it be a d noise or paint

or whatever it might be

I'll render out a plate and read it as a read node

and there's a couple reasons for that

one is so that stuff like this doesn't happen

in case someone just wants to open up a comp

change one thing and render it out quickly

and the other is because sometimes these furnace nodes

can be uh pretty heavy

uh and slow your script down quite a lot

so by just having the read note there

you save a lot

of time and headaches for everyone

and if you have to fire off a quick render uh

that's usually the best way to do it

anytime you have heavy nodes like that uh

for the sake of the pipeline

you'll wanna render them out as separate plates and

and plug them in

so that's what I'm gonna do now is I'm just gonna

replace this furnace node and um

once I get it working

I'll render out uh

a d noise plate and we'll plug it in here

so I will see you in a few minutes after I've done that

so I'm back with my uh

d noise plate

that I rendered out

sorry for not mentioning that earlier

but uh sometimes those things just come up as we go

um and I also took a little

bit of time to reorganize the script

I put our plate prep work up here

uh before we get into our camp down here

or uh sorry

key prep down here

and then uh

I have our hair key off to the left to hold out and our

uh C plate for our uh IBK

and that just sort of makes it

easy when you come back to this camp a couple

weeks later or whenever it might be uh

helps navigate to pick up right where you left off

so you're not like oh

what does this snow do

and things like that

uh I also wanted to point out that

I do have a background attachment here

but uh it doesn't actually

it's not actually doing anything

I sometimes just like to keep that

stuff connected so that when I'm dragging nodes around

um stuff doesn't

get crossed over or anything like that

and just makes a little bit more sense to me

um anyway uh

we're starting to get a good little key going here

uh we got a

a solid mat coming up

uh before I leave you

I would like to uh

demonstrate one more uh

keying technique

for example

uh so you just wanted to pull some of this green out of

this guy's back and maybe some hair and uh

some of the highlights there

but you don't really wanna affect anything else

or maybe you just wanna pull reflections off of

the water or something like that

I'm gonna show you a pretty useful

trick that I use um

and we'll use the Color Warper

I'm sorry Color Lookup

which is similar to um

the curves node in Photoshop

so we'll just kind of hook this up to our

our clean plate for the time being

and take a look at it

and what you have here is

I'll bring it up for full view

it's a big big node

so you've got a master curve here

where you can

control sort of gamma

things like that

and then you got your red

green blue and alpha

should you choose it

and we were

talking about maybe isolating

the greens or something like that

so if you go into the green curve here

and you're looking at your

green channel

you wanna switch into your green channel

so you show you why in a second

uh you can start tugging on this curve and uh

seeing what you can get out of it

now uh this technique

for this particular frame might work

better if you were trying to get a mat

for these areas on the red channel uh

but I have a little bit more in store for you

that's what happens if you

on the color channel

when you're messing with these

you're uh ruining it huh

so you wanna

uh keep the black and white in mind here

now just kind of the theme for the day

and you can

slide these points around and

kind of close in the

in the curves

for the particular value of green that you want

and maybe even

select it there

and it'll plot on

on the curves here where your

where your green is

that you're aiming for

and as you move that

it'll in turn move

um so you can get

close here and maybe

you gotta adjust

this one here

looks like it's not doing much

but it's not hurting

so we can bring it down

and what you're looking for is

pretty much just

the whites in the area that you want here

and so you could keep tugging

around on that

until you have what you want

and then you could come down here and use it

and so now that we have this

we're gonna wanna shuffle it into a channel that we

can use like an alpha

so bring up a shuffle

and we'll quickly drop the alpha into our green channel

so that way the alpha piping in is no longer

the alpha that was coming in

it is now the green channel

so you can tell by up here that you're looking between

the green channel and the alpha

and now we're in luck since we had

a mat for our people here we can

bring in say

we wanted to grade it or something like that

and put it below our Q correct um

you can plug this into the mat

and it's still not quite what we want

cause we just want it inside the people mat

so you would need to bring in a multiply here

and multiply those two together

and see what our result is

nope so shift x

uh we're not looking through it

there we go

so we're multiplying

those two channels together

and now we have a nice little mat there that uh

mats out a lot of the green areas uh

or areas that contain a lot of green

so from there we can maybe add a a saturation node

and pipe the mask input into our mask down here

and perhaps since we're just

getting rid of the green

go back into our colour channel here

not that one

but our output

since we just wanna get rid of the green

we can leave it on green here

desaturate and you can see what's happening just in

just in these regions here um

you're bringing some of that green out

or if you wanted to grade it like I had mentioned

go a little extreme here just to demonstrate

you can see

you're getting those colours where you need to

so that's a great technique that can help with

colour correction and adding detail to keys

etcetera um

and like I said

pulling water

ripples off the water or reflections out of windows um

strongly recommend that one

it's a cool trick to wow your friends and yeah

so from there we can pretty much go in and

and finish our camp here

maybe we don't like them being over

a checkered background so

you guys feel free to put them over whatever you want

something nice and romantic please

maybe a rainstorm

Paris or perhaps even Venice

something like that huh

and then you can go in here and

and do additional color correction if you need

so maybe we wanna just

adjust our gain so they're

more in the right colour space

see what we wanna do with that

and then we can

bring our multiply down a little bit or I'm sorry

our gamma down a little bit

just so those

values seem to make more sense

maybe we match them into the background

just a little bit by

sliding our colors around

like I said

break it go back

see what you like

see what you don't

and I'll let you guys mess around with it from there

cause now you can start uh

experimenting with some comp techniques that will go

over uh later on in the semester

but might as well have fun now while you can

while you're still young and yeah

so we wanted to still keep that saturation going

maybe adjust those a little

bit warmer or something like that um

really see what we can get out of there and maybe

draw a light wrap

or something of that nature

and you want to light wrap a with B

plug it in there

bring up our intensity whoa way too much bring it down

maybe it's a little more

it's not quite as big as that

you know something nice and romantic

just keep romanticism in mind there

and have fun with it

maybe play with your add

add mix curves to see how your premult's affecting your

edges there

and uh you've got yourself a nice little key to

to get going with

you can go back and tweak it as much as you need

and so just as we finish up here

um I would like to uh

just sum up what we've Learned

we've Learned a few different types of keys

here and how to complete uh

how to come up with a a decent clean plate for uh

the IBK when you don't have one um

do a quick hold out with prime at

some keying techniques using the color look up

and what I just want to emphasize is when you're keying

typically there's no one key fits all

be creative with it

come up with some clever techniques to solve

similar problems

and don't forget to have a little bit of fun with it

because it sometimes will take you a little while

and now that you guys are key masters

remember that with great power

comes great responsibility

um so we'll play through and see how the key holds up

and

alright over a different background not too bad

uh comp needs a little bit of work but like I said

the power is in your hands

so carry on with it

um uh we could

match with our background as well if we want to

so what the tracker is there for

alright it looks like it holds up so

I hope you guys have found the key to success today

and as a mat or a fact

uh I hope you are not chromatose with boredom

I could go on all day with those ones

anyway I'm Charles Le Page

I enjoy the keying

and I look forward to seeing you guys on the forums