All language subtitles for nuk214-class08

hello everybody

and welcome to class 8 of Nuke 2 14

uh this is a continuation of class 7

which was on multipass

compositing and channel management

so before we pick up where we left off last class

we're going to have a short presentation from Sean uh

about the render manager

and render farm that we use at zero

called zinc

so uh I'm just gonna

hand it off to Sean and uh

meet you back here after after that

hello everyone

this is Sean Devereux

coming in for a

quick look at rendering and really

the collaboration involved with rendering on any job

it's been a lot of fun and a very unique experience

for me to be behind the scenes this term

but I really enjoyed

watching Jeremy's and Charles classes

they've been

truly great

and I'm glad I'm a small part of it this term and

still keep my eye close in the forums and

really seeing the great feedback and questions

you guys are asking

it's been a great term so far

so to get started

let's just mention briefly what rendering software is

so when you render something

you can do it locally on your own machine

which I'm sure a lot of us do

um but for most studios you need

the ability to render on lots of different machines

that aren't the artist workstations

and for that

you need render management and you need the machines

so before we get into what zero uses

which is zinc

I'll just introduce you guys to a

couple of the websites where you can find

some of the other render managers

so you have Pixar's tractor

which is been internal with Pixar for quite some time

but only recently released publicly

very powerful

made for massive massive

massive render farms

and very powerful tool

you have deadline 5

which is very popular

and I've used it many different studios

I've worked in the past very

very good tool at managing all your local resources

and then there's Q

which is also um very

very powerful and been around for quite some time

one of the first publicly available render managers

I believe so there's others

there is stuff out there for those of you that are

looking to start your own studio and need guidance

but today we're gonna talk about zinc

and go over briefly

for full disclosure

I should mention that

a company I own

also Creates

Inc it was a

initially created at zero

and it was so successful for us that we've

started a new company

to offer zinc to the public

and it should be available publicly for all

um by the end of 2011

and currently

if you go to

Zinc Render

com you can

sign up to be invited to use it

we're doing right now invitation only users

so we can kind of

grow the product organically and

make sure we can fill all our customers needs

before we roll out

to the entire world

so what we're looking at is zinc

is 0 V effects

account of zinc

and when you launch it

it's very basic

kind of like new kids

there's nothing really to look at right away

so we have the ability here to show completed jobs

and you can see now we have

all the different jobs that we've launched

since this last development cycle and

I can go ahead and expand this down

you can see this is our

list of jobs that have been run

and let's go and click on one of those

and you'll see on the right is

finished job that was

this was a very quick one

only had one instance being

or two instances being used as you can see here and

the frames are under 15 frame trucks

so not a very long job

um but it was all done on the farm

and the CPUs that zinc uses are on the cloud

so there's no local assets at zero

um but when we kick off a job

it checks or it checks the

files to see if it needs to upload them

if they're not already on the cloud

and if they already on the cloud it simply renders

and I'll show you guys that in a second

so here's where all the job details will be

they'll tell you what the actual script name

it's running

it'll tell you the software

what it was created etcetera

how many instances or render nodes it's currently using

and of course

at this point it's done

but we have status bars here for the upload

and the render

and I'll go into a little bit more detail thereafter

so what here on the right is our job details window

on the left is our jobs window

and down here

all those nothing in there right now is our instances

this is what actually render

this would show us if we had

several instances rendering

say hundreds even

they would all be listed here as individual machines

and we would see what job they're working on

I'll show you guys that in a second as well

so if we go ahead and

look at a different job

you'll see this is a my 2,011 job

for example

and the renderers V Ray

as we can see here

and now because it's on the cloud

we always have to upload the files

and away we've got around the band with for that

because obviously every time you

if you had to wait for uploading

every time you had to render

you know most cases are a lot of cases

the render will be done before the uploads done

depending how big the files are

especially for 2D jobs

and we do use this for nuke as well

so we created this function called upload only

or upload files

and if I click on that

I simply browse to a

new script or my script

right here is good

and I'm gonna go ahead and click upload

and a job will appear right at the top

and you'll see that it's

the status bar is already fully green

because it doesn't have to upload anything

we've already uploaded all the files

social with this job

and what we typically do when a job starts

either have a coordinator

production coordinator or the artist themselves

read all the images or plates that we need into nuke

or Maya if there are Maya artist and launch

save that script

and then do the upload job

so that everything will be uploaded

so by the time that

we're ready to render

everything's been uploaded

so even if for example

if you're working on a new comp and you

have three or four layers of photographs plates

if you start that upload job

by the time you've done your comp work

and you're ready to render

say three or four hours later

your first version

the upload's complete

and you're ready to just start and start grabbing CPU

so you can see this job's already marked is done

because all I did was check to see

that these frames were up there

and if we look at our job controls and see our job log

it'll tell us what files were updated

and what files were confirmed

so it says it detected an image sequence

and detected several image sequences

and just confirmed they were all there

it found one changed file

which was the actual new script itself

which would make sense

cause it was saved after the last render

and everything was there

so it uploaded that one file and it's done

so although we pre uploaded the files

we don't necessarily have to um

if it was a CG job

for example

Maya and the only

you might only have textures

if anything at all

to upload beyond the actual mycing itself

so you don't have to do a separate upload

the launch job

as you'll see here

will do all the upload for you but again

if it's a lot of fast upload

you're gonna wait hours for your editor to start

where if you hadn't uploaded them first obviously

you can just get right away if they're already uploaded

so I'm gonna go back and launch a comp now

that actually Jeremy did

so it's in his work directory

go ahead and grab this and you'll see that um

this is a new scripted audio text

whether you're giving a new script or my script

and I have the choice of

how many instances I want to run um

this is just demo purposes

so I'm just gonna give it uh

5 and I have two flavors currently uh

8 cores at 2.5 gigahertz with 7 gigabytes of RAM

or 8 cores with 68 gigabytes of RAM at 3.25 gigahertz

this is a relatively light job

so I'm gonna go ahead and keep it at the

7 gigs of RAM and a little bit less power

uh gigahertz wise um

the difference between zinc and

the other random managers I mentioned is that 0

this isn't using its own local render farm

it's using renders

render machines on the cloud

and we only pay for them as we use them

so that's why there's even the option of

the slow machine or faster machine

because the faster machine is slightly more expensive

and in this case just not need it

so we'll go ahead and go with the lower cost machines

the frame range is correct

I'll frame step it every

every frame

which is fine

I if I had multiple right notes in here

I could select one or all of them

and I'm gonna just go ahead and select the node

and I'll keep the chunk size at actually

just keep the chunk size of gonna chunk size to 2

and I'm gonna go ahead and watch the job

and you'll see right at the top

it should appear right here really quickly

so it already has

and while I was recording this

Jeremy actually kicked off a job for a

project we're working on as well

so we're actually

actively using this in production as I'm recording

and that's when Jeremy's job is going

and here's my job

so we have the upload has been confirmed

which makes sense because it

we did the upload

only part of it

it already had verify they were there um

it does recheck every time though

even though we just run an upload job

and it verify they were all there

it checks it right away again to make sure none of

the files have changed um

cause although nothing was reuploaded

who it's something possibly could get corrupted

anything could have changed um

so it just wants to

verify that before it starts rendering

everything is set ready to go

so now the uploads complete

it's gonna start launching instances

so if we go ahead and look at our

job log we can see what it's doing

it's uploading the

just finished uploading the train comp dot nuke

and now it's uploading instances

so you'll see that um

it started those five instances getting those started

and those just take a few seconds to uh

get the get nuke running up and running

and then they'll start rendering

and you can see here

all our frames is listed in frames 1 through 2

frames 3 through 4 so cause I did two frame chunks

and we can pan down and see all our frames

and we'll have a little bit more information here

with the log once

the instances actually start rendering

so now it started rendering

and it says

as you can see down here on the bottom left

it says it's rendering

it tells you the current task

which is job 1437

the right note

it's actually writing to and the frame numbers

and what packages

are currently available on this instance

when undernote starts

we have to install the software on it

so the way we

sync currently works is it will install

the software package

that's requested

and then at any point that this um

node becomes inactive

and it's just waiting for another task

we will continue to install other packages

that are available

so then this

render node

becomes available for all the packages Inc offers

instead of having to install them once it's requested

and we can also see in our job

details window that the status is now rendering

and we can go ahead and look at our nuke log

and this is the output directly from nuke

from that render node

so we can see

everything that nuke typically pumps out

so we can see that frame 1

took 52.46 seconds to render

it loaded um

all our plugins

including our custom plugins that we have um

as part of 0

and it verifies

that is part of the upload process to make sure it has

any plugins that are being used

and that goes for 3rd party plugins as well

such as generates

Sapphire which we use pretty heavily

as well as um

the foundries plugins as well

so close that

and you'll see

now this is done

so this frame 1 to 2 is done

now what done means

and as you can see here in

the next two lines that it says

downloading

um unlike some other offset renderers

you don't have to wait for the whole job to be done

to then render to

or rather to render all the frames

and then download them all as like a single zip file

this zinc actually downloads the frames as they finish

so when it says done

it's actually done rendering

and it has put that frame back on

to your local server

so this is actually in my local folder

where I told it to write to Innuk

which is this outpath right here

it's actually in my files of a right now

ready to be used

um which is a pretty cool thing that I'm not waiting

okay it says done

and I'm waiting for it to download it's done

it's in the folder as if I'd rendered it on local farm

which is pretty cool

and I can also

under drop controls

go to view thumbnails

and what we'll see is

a lot of black boxes

and zinc will fill these in as it renders

so let it sit here for a second

and as frame finishes

it'll go ahead and

populate these frames

here we go frame 12

just finished

and when frame 13 finishes

it'll go ahead and populate that image as well

and they'll be a little bit staggered as um

cause I'm doing every

2 frame chunks

you'll start to see these pop around a little bit

when you do

higher chunk frames

these really start to

you know you might have frame 42 finish before frame 3

because it was

um you know

chunk so high that it might render first

but in this case

cause there's only few

they'll start

it'll be relatively in order

so you'll see

we skipped a couple frames there 13

14 and now 13 finished

and 15 finished first

so this is a great way to watch the job

to make sure

we know it's rendering by the progress bar

but now we know it's rendering

the image we expected to render

so I close these for a second

and we always come back and um

look at those again later um

and you'll see

you'll just keep assigning jobs um

you'll see down here in the left

instances will come

will release the job and wait

for another task

and vice versa

and we have the ability

to do some things like lock

the instances

so I wanted to

lock instances

I could just select them here

and lock these instances

which would mean they're only gonna be used for

zero visual effects

and no others in account will be able to grab these CPU

so always be available for us until I unlock them

so I'm gonna go ahead and unlock them now

so that they do go away

when I'm done with them

and allow other users to use them

so that's still going well

and just show that thumbnails one more time

see how we're doing here

so we're starting to pipe a little bit more

it's getting there

starting to slow down

we're probably

getting to the motion blur phase of the render

and we'll so that keep going

so that's a basic overview of zinc

and I would say that most render managers

are very similar to this um

this is the same basic process

the rest use

Zinc's interface is a little bit simpler um

in some ways we can't take some things away from

the artist that you don't need to see

um kind of keep that up for the administrator um

you can see we can certainly search by username

so if I wanna just see my jobs

it'll show my jobs

I wanna just see Charles

we can see just Charles's jobs

so on and so forth so um

a lot of the basic features

you see in most render managers and um

the only difference being is that zinc is cloud base

and not using a local renter farm

and that's all web base as well

this is just in a web browser

I'm currently using Chrome to check this out

um but that's rendering

and it is collaborative in the sense that I can

see Charles's job

find out that his in fact are done too

let's see if his has thumbnails

his does so I can see what kinds of he was rendering

and um works like that

so that's the pretty much the zinc overview

the basically rendering overview and

hope you guys are enjoying this term as much as I am

it's been a total pleasure

and I will look forward to seeing you guys in the forms

and I will keep my eye out for

the great questions you guys have been asking

and the great feedback you've been giving

thanks very much to Jeremy

for letting me have this time in class number eight

thanks Sean

incidentally

I did use ink to render this shot

as well as a lot of other

projected zero and some of the other comps that

that we've seen already in Nuke 2 14

so anyway let's just

let's jump right in and pick up where we left off

last class so you may remember this

this little house scene

um kind of spooky

and I went ahead and I rendered out the sequence

um so let's take a look at that um

so now that we have a camera move

we can go ahead and uh and composite the rest of this

um but one more thing before we

we dive right into doing the the

the comp itself

um this is kind of the uh

this is where we left off roughly

uh last week with our

with our network

with all of our passes broken out and all of our

um shuffle nodes and grade nodes labeled

and everything like that

and all the color spacious color space issues

and pre multiplication issues sorted out

um but since this is kind of a big network um

we wanna try and find a way to consolidate it

to make it a little easier to

work with inside of a comp

because once we get going

um we're going to quickly run out of space

and it's just gonna get confusing um

so what we wanna do is actually turn this into a gizmo

so we're going to be

using a lot of the techniques that we

that we covered earlier in the class to uh

to make this into a tool that

that's production worthy

so um I'll just get started doing that

and I might skip a few steps um

just because uh

it's gonna cover a lot of the things that

that we've already covered in class

so I don't wanna waste time

doing things that everybody's already seen

um so I'm just gonna start off first

um consolidating it all into a group

and we're gonna call this uh

let's call this um

CG assemble

good and now going into that network

there's all of our uh

our nodes that we that we put in there

so uh I'm gonna add some

some controls

what I so what I'm looking for is I wanna find

I wanna have a way of uh

of manipulating each of these grade nodes

uh separately and individually

but I don't wanna have to double click on each one

and or go into the group to to select each one and uh

tweet the settings that way

so I'm gonna create I wanna create a bunch of tabs

um in order to uh

in order to um

put everything on one level so that uh

so that we can

edit everything all at once

or at least so that everything's on all in one node

so the first one I'll do I'll just go in order

so the first one is self illumination

so there's our tab it starts blank

and now I'm just gonna pick stuff from the

from the self illumination grade node

I also wanna think about controls uh

that I want to add and those that I don't want to add

I know that I'm never

really gonna wanna change which channels it operates on

so that's not something that uh

that I wanna be able to change

so I'm gonna only add controls that I know that I touch

all the time

so that includes the black point white point

the lift

again

multiply

offset

and gamma

so let's just uh make sure that I got everything

so I don't really wanna

ever really wanna touch the

the reverse or black clamp or white clamp

the mask I can leave alone

and the unpree multiply I can leave alone

cause I never really

want to be able to touch those in my

in my top level effect

just because I don't use them very very often

so I'm just gonna leave those leave those empty

uh I might add a control uh

if I wanna turn one on and off uh quickly

I won't have I don't have to go in and uh

and find the uh

find the disable um function the disable button

so that's another thing that I'm gonna add

where did it go

so now that's a externalized control cool

so let's just let's confirm that that's working for now

that seems to be working all right

and let's just give that another couple tests

that's good

that's working so great

now I'm just gonna kind of rinse and repeat that

process for each one of our grade nodes and

and move on from there

as as you've no probably noticed um

this is a pretty tedious task

um but one other thing that uh

that I wanna point out that can make it a little faster

um is you can when you go to the pick dialogue

um so I wanna I

I did the raw gi one um

and now I'm gonna move on to the diffuse one

uh you don't have to select each of them

uh individually and and go back and do it that way

um instead you can uh

you can shift select a bunch of them that you want

so I'm gonna select all those at once and uh

and also the disable

so now with all those selected I can add it

once and now that's given me all of them oops

except I forgot to make a new tab

so I have to also add a new tab

and this is gonna be diffuse

diffuse

and then so the way this

thing operates is it's a big list and everything that's

uh above everything that's below

one of these tabs is going to be inside of it

and when you define a new tab

uh everything below that gets

uh shifted to the next tab

so uh just keep that in mind when you're doing it

if you mess up

you don't have to start over

you just have to move things up and down

so now we have three tabs and moving on to the next one

now there's one more that I need to add and that is the

this plus that's controlling the intensity of

of my shadows so let's add one more

I'm gonna actually delete that and make that tab again

and actually before I do that let's name this

shadow

mix

and since mix isn't really an intuitive name for

where it lives underneath this shadow tab

let's just rename it to

shadow

great so that's our tab that's our that's our gizmo

so now we can test that by uh

by looking through it and I'll close the the no

no graph uh of the of the group

and uh let's see what happens

I can gain up

bend down the uh the cellphone that's working good

the uh the ragi working pretty well diffuse

let's pretend I wanna make it blue or orange

that's working well

raw light reflection

excellent specular

I don't really

expect to see too much by tweaking that one

but I know it's probably working fine

direct illuminations working well

the global illuminations working well and my

shadows are working well

great

so now I'm just gonna turn this into a uh

into a gizmo

and install it just like we installed

the gizmo from class 1

so I'll meet you back here once I've done that

so I went ahead and I added the CG Assemble node that

that we created to um

to our node um

to our list of gizmos and it's also in the menus so um

when I try and create it

it shows up nice

it shows up fine um

one thing I did add

I did a couple things um

so I'm just gonna go over those I added um

a place for us to specify the input color space of

of our of our image um

cause you remember we had to do that um

in the big network

and the other thing I did is I just zeroed out

all the controls before I saved out the gizmo since

since we had changed all of them

um to to uh

adjust the look um

those values carry over when you uh

when you save out the gizmo

so it's a good idea to have everything start neutral

um so since uh

this is gonna be a generalized tool uh

we don't wanna have the values from one project

uh filter into

all the other projects that we might use this on

so uh just take care of that and um

and we'll be good

so let's load in the uh

now let's get to compositing

so let's load in the um

uh the images that we're gonna be using

so here we go

and let's take a look through our

brand new CG Assemble node

cool well uh

no surprise here

we're not seeing really any change at all

um I could go through and copy all the values that uh

that we had for the for the um

for the still that we had done

but um it wasn't you know a whole lot of work

so I'm just gonna kinda start from scratch here

so the self illumination um

we definitely took that uh

took that down a little bit and uh

made it a tad

tad booer but not too much

the uh

the raw light could go a lot more blue

that's good and the uh

the reflection definitely got a little

hotter and slightly blue

and let's change the um

a direct illumination what's that doing this one

okay so let's make that a little warmer

and that's looking pretty good

so what we have here is a you know a heavy key light

that's mostly visible on the house on the

on the roof rather

alright that's close enough for now

um basically what I wanna do with this is

I wanna turn it into um

into a scene

um with our camera move that we have

um I wanna put something in the background

um first and foremost oops

um so there's a

you know 100,000 different ways to skin that cat

but let's say that um

that we just kind of

but let's just say that we

don't ever wanna go back to CG on this thing

it's only a one day project um

and and we just wanna get something done quickly

as kind of a proof of concept

um just something that we can show the client that

uh you know

this is kind of the direction that we're going in

this is what we wanna do um

but let's not go the full route and create a full um

CG environment

um let's just try and get something

something in there

so uh one trick that uh

that you can do is um

I went ahead and I exported um

I went ahead and I exported

um a couple

couple pieces

pieces of geometry um

from the CG scene

uh so I'm gonna go ahead and load that in now

I'm not gonna use this for uh

for anything having to do anything

any part of the real comp

um what I'm gonna use this for

and I also exported the camera is uh is placement

I I just needed something um

some piece of some reference for uh

for where I wanna put uh a cylinder

I'm gonna put a cylinder back here and that is going to

um be kind of a serve as a backdrop for uh

for what we're gonna be doing

what we're gonna put back there

so that's not animated because

there we go

so now if I look at that

I just exported the house

uh actually I exported the house and the concrete

the road there so we can uh see what's going on

if I look through the camera

that looks about right

oops

yeah so that's that's lining up that's good

so now that I have that let's put that in a scene

with a scan line renderer

and now I need a cylinder to act as a backdrop

and clearly that's much too small

so let's basically just make it uh

make it surround this entire area

and that's not quite dead center so let's move it uh

that way a little bit and that way a little bit

good

alright

and I don't really need um this FBX

I do need the camera

so I did need to export the camera so um

all I did was uh

I did need the camera so I just did did that

and now we want this to render out the same size as our

as our plate and our plate is 9 60 by 4 5 40

I only rendered out

half rez because of of

of time reasons you know

I didn't wanna

it was actually kind of a little bit of a heavy render

so I didn't wanna spend a whole lot of time rendering

it um and it

it's it's and it still contains all the passes uh

it just isn't it's a half HD so

and let's just confirm that this is in fact

gonna do what we think it's gonna do

good and let's just scrub through and see

what's going on there alright

so our cylinder is definitely moving

moving with the camera

but it seems like it's it's a little too big

so let's just make that a little higher and

smaller

so it's chomp chopping in chopping our uh

our concrete off a little bit

but that's okay cause we're only ever

we're putting it on top of the uh

we're putting it behind the um the render anyway

so it's not like it's gonna actually clip anything off

on one other thing um

I wanted to make it 1 to 100

that we have a little lead time in before and after um

the uh the camera starts and stops

good so now uh I I also went ahead and I found some uh

images that I wanna use for the uh

for the background um

I liked that one

so clearly if I just plug it in

it's not gonna work quite right

it gets all stretched

um so there's a couple things we can do to fix that um

I know I'll probably have to extend the painting but

just to get started

you can change the uh

the U extent which basically determines

uh where or are sorry

how uh how much

of the surface of the cylinder

the image gets mapped onto and uh

I can also rotate the entire cylinder to

to change where

um where that matte painting is gonna show up um

in our render

so clearly I need to to fill in uh the rest of this

um area because when we uh

when we pan and and zoom in over

over on to that part of the house

uh it kind of gives away the illusion completely

so uh let's

let's do that um

what I wanna do first is uh

is reform at it to um

to let's see how big this is

it's a 10 24 by 7 78 and I wanna make it doubly as wide

twice as wide

so I'll make a new one and this is gonna be

our painting size SO10 twenty four times 2 is 2048 and

leave the height the same SO7 78

and no resizing is gonna go on and I'm gonna move it

let's see will 1024 be right

no half of 10 20 four is 5 12 yep

and then another transform

and this time

I wanna flip it so it's not completely obvious

and then I'm gonna do some painting on it

once once that's done

something like that and let's make a little wider

so now when I look at that

let's turn that house off

good now we have a little extra space and uh

wanted to go one more

one more level so uh let's see um

10 24 times three is 30 72

so let's adjust that one more time

now if I look through it I have to transform

the whole thing over

that wasn't it after all

so I'm gonna actually undo all that

I forgot that um

that I changed the EU extent on on this thing

so it's actually getting um

getting squashed

so let's just move it

to there and go back to the beginning

much better alright

so now we have full coverage of uh of trees

um and the last thing I wanna do actually is uh

well I'm not gonna use a transform here

let's just raise this whole thing up

make it a little taller

hmm

that's probably okay

alright so now let's uh

let's make that a little more blue

cause we kinda lost some of that

I'm gonna go directly into the diffuse channel

and just crank on the blues

and obviously I need to color correct our

our image here

it's a quite green

I want to make it a little darker to match the

match what's going on in our in our scene actually

I need to give it a little

a little more gamma

all right that's okay and some saturation

that's starting to look okay

nah actually I don't want that saturation there at all

in fact I want to

if anything desaturate it a little bit good

always feels nice when you find that

that spot that you're happy with

so the next thing um

that I definitely noticed I want I wanna add is um

I didn't include that softened node in our uh in our um

assemble note just because it's not something that you

that you might that it's not something that you uh

that you wanna do on every single CG render

so it's not something that we wanna build into a

into a tool

um for everybody to use so um

let's just add that back in

and the next thing is um

now that we have all these wonderful

wonderful channels to work with

um we can add some great depth of field

which uh which we are probably all familiar with

uh from um from doing uh

some of that still life work that we've done

so we're gonna use the same technique basically

but before we uh

before we just dive right in

let's just take a look at where our uh

depth channel is coming from

so if you notice

I'm using a shuffle note to take a look at this

at this channel whoops not motion

I wanted depth um

I could use the menus in the upper left

I just I just can't stand them

I I I get frustrated with them

so I tend to use uh

shuffles just to look at channels so uh

here's our depth channel of the coming out of the uh

out of the render itself

and that looks great

you know it has some

it has some definition and it has

and it has differences

it has a difference

between all the things

and here's the depth pass from the

from the nuke scene

and that is not as useful

so uh actually I'm probably just gonna forget about it

I don't even wanna care that it exists

but I do wanna blur the uh

background that is coming out of it

out of it um

so that is where I'm going to

I'm gonna put my Zeebler node

um on top of everything

uh just because I wanna save on

on computation

on computation

but as you can of course see it's using the wrong uh

depth channel

so I just have to copy it from our uh

from our CG render so copy um

where'd it go

depth to depth

here we go that's looking good

so now I'll turn on focal plane setup

it's all blue for right now

so let's change our focal plane

and at the beginning of the sequence let's have it

let's have it start focusing in front of the house

and see we're getting this nasty nasty line

and the uh the reason for that is

probably because we need to unpree multiply the

depth by the alpha of course

so we can just steal that directly from the uh

from the render itself cause that's still intact

so there we go

now we got rid of that nasty line

so um just just to go over that one more time

the reason for that was because uh

when we took it from here

the uh the depth channel and uh let me try

let me illustrate that

we zoom in really close

here's the depth channel coming uh

coming right out of the uh

right out of the render

and then uh

when we after it goes through all of our uh

all of our nodes and

and adjustments and everything like that

um because we un pre multiplied it

and pre multiplied it a couple times inside the uh

CG symbol node

it kinda got all screwed up

um so that's why we have to take it fresh out of here

and then do the un pre multiplication on it

um and then do the

and then un pre multiply it

uh just so that uh

so that we get a clean result

because then if you also look at the uh

look at the Alpha

you see those are different too

the alpha channels changed

so we have to make sure that uh that we're using the

the depth channel as it came to us without uh

without it um getting fooled around with

so there we have it

so that's where our uh

where our focus is gonna start and let's have it end up

looking

right at the door

so the black area remember is

is the part that's in focus

the blue area is

is out of focus behind

behind or far away from the camera

and the red is out of focus close to the camera

so there we go

and we can turn the focal plane setup off

and let's just uh

let's see how much we want that to blur by

I wanna blur quite a bit because

I think that's gonna make it look a little scarier

so I'm gonna crank it up to probably

I don't know somewhere around 16 feels good

and also adjust my maximum to to account for that

let's just check that at the beginning

hmm it's a little heavy handed at the beginning

so let's uh let's turn that size down

alright that that's that's probably okay okay

so there's one more thing I wanna do in terms of the uh

in terms of the grade

uh I feel like the uh

the road is

is a little bright for the rest of the scene

so uh I wanna

I wanna grade just the uh

the kinda just the areas that are being affected by

by the uh by the key light the most

um now there's a bunch of different ways I can do that

I can render out a map pass

I can import the geometry into nuke

and generate a map pass that way uh

I can of course do some roto

I can try pulling a key um

but since I'm kind of looking for all the

I know what I'm looking for

I'm looking for all the

areas that are kind of facing up

and luckily for us

there's a pass that exists that isolates things

in just such a way

I think I touched on it last class

the normals pass

so this gives us

this gives us um

right to left

up and down and facing the camera

uh so since we're looking for um

faces that we're looking for areas that are facing up

um we're gonna use this one

it's uh it's the

it's the green channel in the normals pass

which is normals

labeled normals dot y

and if you'll notice

it's got some negative values in there

so before we use this

we have to kind of change

change it a little bit because we don't want it to have

any negative values in it because our grade would would

would not behave predictively

so what we can do is just basically grade this

grade this thing and turn on the

uh the well

the black clamp is on so

so now it's automatically clamping values below

uh below zero

which is good um

but we also wanna get rid of um the stuff on the uh

on the chimney and the the side of the house

so now we're just grabbing um

parts of the image that are facing up

and in fact I'll take that a little further

um just so we get a little more definition

there we go

and now I'm gonna tell it to

operate just on the normals dot y channel

and I'm gonna cut that grid and

put it right after the assemble

and now I'm going to use

um the grade that we made down here and uh

have that actually I'm gonna put it before the soften

and its mask is going to be normals dot y

so just as a as a proof let's turn the multiplied down

and there we go that's working pretty well

um

I do wanna actually um

exaggerate it a little bit

because you see it never really approaches one up here

and here where I want it to be effective the most

it's not even uh

it's not even getting a getting above point two

so uh why don't we um

so I'm just going to

exaggerate that a little bit and uh

and bring that up and turn that back down

so now we have values of around

you know point six point eight stuff like that and

these values are absurdly low which is fine

that's what I want

and these values even though you can see it it's

it's uh it's below point 1

so I'm not too worried about that

um affecting stuff

I don't want it to

so let's just uh

go back here and turn our multiply down again

alright now we're getting some

some effect that I that I really want

so that's good

actually that doesn't look half bad does it

I wanna bring a little bit of it back

last a little too much

there that's good

and let's uh let's revisit that grade a little bit

it's uh it's quite quite green

alright so now let's uh

now let's render that out and uh and see what we've got

so here we have uh

the render that we just did

um it's looking pretty good

uh I just noticed a couple small uh problems

um there's a little bit of uh

erasing going on in the uh

on the side of the uh

um on the side of the chimney there

um I hope you can see it in the uh in the class uh

recording but uh

if you run to this out you'll definitely see it

it looks like there's some kind of Halo

Halo effect going on

so uh let's just investigate that and and uh

and see what's up

so I found a frame that

that exhibits the problem pretty well

so let's just take a look at each element individually

that doesn't seem to be a whole lot of

alacing going on here

there's obviously not much going on here um

and when we put them on top of each other

can't see much going on there

so obviously the only thing that's left is our Ziebler

um so you know

sometimes you might run into problems like this

where the first

what seemed like a good idea at the time

ultimately turned out not to be the best idea

um the reason is that

let's take a look at that

at that depth channel again

um so here we

we can see that it kinda just uh

it falls off to

to pure black

um and that's probably what's causing our problems

um it might look that uh

it might look as if the um

you know you can see that there's

there's actually quite a

bit of aliasing going on in the uh

in the depth channel

um but that's not aliasing

that's because again it's

it's unpremomplied

if we uh turn that on

pre unpre multiply off

we can see that

that it is in fact uh

following the contour of the

of the chimney quite nicely

um the reason that we need it unpremomplied is because

uh we need it

we need there to be depth information in the

uh in the uh

fall off areas of the alpha channel

um anyway so let's

if you take a look at that see um

these values here

there's still color that needs to be um

there's still color and information that needs to be

uh blurred in

in those areas

but if we uh if we um

but if we leave the depth channel pre multiplied

you see the

the depth is getting altered by

it's getting multiplied by the alpha channel as well

so um so it's actually changing the depth information

at that particular pixel

um remember that

that depth is not a

a look pass

depth is as a tech pass it

it contains information that

can't be fooled around with

so you have to

have to make sure it's unpremomplied um

if uh if we had time

if I had time to go into CG and uh

and and change something I

I would probably throw in uh

a cylinder behind this to

to give me some depth information for the background

but uh since I didn't and I

I don't really wanna have to go back into CG and fix it

um uh we're gonna have to

we're gonna have to adjust uh

adjust this in the comp

um to make sure to make up for the fact that uh

that we don't have that um

so not a big deal um

it just means um

sacrificing a little bit um

in terms of uh

it just means sacrificing a little bit um

so we were doing all the blur in one step um

and and that looks good except for the fact that uh

that we end up with this uh

artifacting here where uh

with the background

where the foreground goes over the background

so instead what I'm gonna do is I'm going to

blur them separately and in this particular case we

you know we're off the hook a little bit

since the background is so far away

and it really doesn't change much at all

I can just blur it constantly and

and do it that way so

um be a little heavy with it um

just because I remember

you know it was really really out of focus

but now you can see that I don't have that

that ugly looking edge as

as the chimney passes over the tree so uh

let's give that a render and see how that looks

so here we have our

our finished render of the of our spooky house um

quite a bit of fun

I thought um

I really enjoyed making the scene and encomping it and

I hope you guys enjoyed seeing how I put it together

so in classes 9 and 10

Charles is gonna be taking a comp from start to finish

utilizing all the skills that we've Learned

and probably more and

and hopefully you guys will get a lot out of that

and I hope you've gotten a lot out of the class so far

so this is gonna be my last class for uh

for this semester and it's been an absolute treat um

doing all these classes

I really enjoyed

um doing it and I've enjoyed everybody

asking questions on the form

and can't wait to do it again thanks