All language subtitles for nuk214-class10

hello everybody

this is Charles Le Page again and welcome to class 10

we're gonna pick up uh

pretty much where we left off from class 9 uh

except after a good night's sleep I uh

decided since we had set this up for a sky replacement

we might as well go ahead with it so um

I'm gonna walk you quickly through uh

as how to set up a sky replacement

then we'll get on to uh

compositing the rest of our CG elements that are uh

now ready for us

so we're gonna pick up the script

uh in a familiar area

which is just about here after we'd added this turret

uh before we've reapplied our material to our card

so um after that

I internalized some of that color correction

we were doing last time um

and I warmed it up a lot just to match our sky uh

so you guys can take a look at what I did there

um I also added

some of these little bezier shapes and their individual

grades just to darken the tops of the towers

because when we add that uh

sky replacement

you'll see that these

the tops of the towers are just a little bit too light

so uh if we look at this grade here

you can see kind of where we're going with it

I just warmed it up a lot

a lot more rather than just gambling down so the

this great here

is just darkening the tops of those towers

ever so slightly

and it spills over into the sky because

we are premulting it through our alpha

and since this is the alpha

the bridge I wanted to internalize my color correction

so that I'm just doing it to this bridge here and

not to the sky that we're gonna add just now

so as we work our way down

down this script

I've added some

smoke and fire elements to that broken tower

and I added those

in the same manner that I added the turret

so just the still frames

a little bit of repositioning

and color grading going on here

and you guys can take a poke through that

I uh added the script

uh to the bin

so I've provided these elements and you guys can

try put them together yourself and

and take a look at how I did those

uh just a little bit of a time offset here

just to match it up

so that the action happens where I need it to

and then we

uh have a primo here uh

just before everything goes on to our card

um so that we get rid of the sky

so if I take a look here

um actually

we can take a look at our scanline render down here

and see the example so

wait for that to load if I take that premult off

the sky comes through and that's not not exactly

what we want

so we're gonna premode there

so we just have our bridge element coming out of

out of this scanline render here

and we're gonna walk through a quick sky replacement so

hold on to your hats

okay so as we launch on our uh

sky replacement

I want to mention that I can't provide uh

this particular element in the class files however

um it is an element from CG textures uh

if you guys haven't heard of CG textures

I recommend you check it out um

they've got some fantastic textures that

uh work for all kinds of uh compositing needs um

and so cgtextures

com head there and set up an account for yourself

and I promise you'll use it

way more than once

so this is an element that I got from cgtextures

take a poke around

and I believe it's one of the night skies

so you can pick that up right there

and I'm gonna put this onto a sphere

and put it into our 3D scene that we had before

um just to kind of fit in properly behind

our card that we'd placed

our bridge element on

and maybe pick up a little bit of parallax

if there is any in in the camera

so with that we're gonna add a sphere node

and just pipe our image right into that

and we'll take a look through

we'll also open this card here

just so we can see everything in 3D space

so there's our sphere and there's our card

and right off the bat you can see that

our sphere is a little bit too small so

we'll bring that

oops sphere back up

scale it up a lot and move it back to where it belongs

scale it up probably even more than that

and still uh even though we're in 3D space

you can see it's it's not really uh lining up too well

um it does map around the whole sphere

and we don't really want that in this particular case

so uh we're gonna mess around with the

U extent and the V extent

which will just kind of wrap our sky to where we want

we'll start with our U extent and see

see just what's going on there

so maybe we'll turn it to 100

and for back out of my sphere

you can see that it's now a very narrow

version of what we had before

so we'll play around with our V extent

and type that into maybe 50

and now we'll go back into 2D

and see what we have

behind our bridge okay

so we're gonna need to add a new scanline renderer

which we have down here

and we'll attach our steer to that

and take a look at what we have

uh we've attached it to the camera which is coming down

from up here

and now we've got

we've got to combine the two scanline renders

so we can see what's going on here

so we're gonna use a merge

we're gonna put our foreground over our new background

and take a look at what we have there

and there you can see our sky right behind our uh

rotor that we did so diligently

and now it's just a matter of uh

messing around with the values in the sphere

uh UV extent

um maybe maybe the height a little bit

maybe get some of that

orange that I like in the bottom of the image there

and I'm gonna spend a couple more minutes just uh

tweaking this

uh into the right size in place

and then we'll carry on from there

Kay so I spent a little

bit more time just repositioning the uh

this guy with uh these

these two notes here

and then uh

added an animated grade to keep up with that little

uh grade shift we had in our plate

and um just darken down the sky a little bit

it's getting close to where uh

where I like it

and uh my script is starting to slow down

so before we uh

move on to uh

compositing any of our CG tasks

I'm gonna split up these

renders and render the foreground

let's take a look

we'll render the foreground with an alpha

and we'll render the sky

and before I render the sky

I'm just well

I'm not gonna render out now for with the sky because

we don't need one

that's gonna be our very back plate

so I'm gonna render these two plates out

and then we'll hop into the CG composite and uh

start piecing everything together okay

so we're back and I've rendered out those elements

and now we're starting from scratch pretty much

so we'll have a nice fast script to uh

start pumping our CG with

uh here's our our sky

I rendered that out

and I also added just a tower of smoke in

the background to make it a little bit more interesting

I can't provide that element either

but it is from a fantastic website called Detonation

films.com and uh

they have all kinds of cool elements from uh

blood splatter to explosions

uh etcetera

and they got some pretty good free ones

so uh feel free to swing by that website and maybe

add a couple to your comp

cause uh they're

they're very

very useful

so anyway here is

we're gonna merge these two together so uh

we're gonna take our bridge render that we had here

add it to our sky render

I also uh added a couple uh

grade mats just to uh

match the grade that we had in the plate and

sort of darken our sky from left to right

uh and give it a little bit more of a nighttime feel

it wasn't really feeling too

uh duskish or

or nighttime ish

before my render so

take a look at that

background script and uh

you can see

how I got to

where I got to okay

so we did we did a

concept frame last time in a temp render that

included some tanks on our bridge and some aircraft

so now that we've got all our

elements from the CG department

we have to decide on how to count them all together um

for the most part

we know the airplanes are gonna

end up going over the bridge

and uh most of what we put on the bridge

so we're gonna start out this comp uh with

adding some elements to the bridge and

and seeing how it looks

uh with our our CG

and then we'll start putting the airplanes over the top

so with that we're gonna read in

uh some of our tank elements

and I believe they came with some dust elements too

so let's take a look at those okay

so our tank and dust

elements will take a quick look at uh

we scrub through here

we got some moving tanks on the bridge

that's pretty sweet

and uh I also

uh whipped up some quick dust elements

and for the most part

if you take a look around

you can find some dust elements and transform them

color correct them

and that's how I made these ones

and we also have a foreground

dust element that I uh made using

using particular

so you can either make your own elements or uh

get a little fancy and just

sort of transform and color correct some some uh

dust elements

so if we take a look at these

these are labelled background dust elements

because we want something to go behind the tanks

and the other ones

a foreground one

just to sort of cover the whole

tank situation in dust

so we're gonna merge those together really quickly

put them over our plate first

and take a look at what that looks like

so since we want our background to be behind the tanks

we're gonna put those

right over our plate

and then we've got our tanks

we wanna make sure we have the stuff in

the correct order so that it looks the way that our

CG team planned and or we planned

so then we're gonna add these guys over the

whole thing alright

and that doesn't look too good right off the bat there

so uh let's take a look and see why

so we got a bunch of our renders out of uh CG

and they might look pretty good in the CG environment

but if we let's get rid of this here

we take a look

they're not quite uh in the position that we wanted to

and rather than fuss about with the 3D guys

uh we can just go ahead and and uh lower them ourselves

so I will add a transform

we probably have to do it to the dust elements too

because I imagine they were lined up to our cg uh tanks

so we're gonna add a transform just after here

and just sort of move everything into place

so we're gonna go down here

be helpful if I was looking at the right thing

to get those tanks on the bridge

whoops ah yes

we are transforming our background

so that is my fault

what we should be doing is really putting all these

elements together over themselves

so a or B and

then putting the whole thing over the plate

and that way we can affect our

our elements the way we want to and not our plate

and also if we take a look here uh

we've got a

an undisturbed alpha channel

so we're gonna do that for all of our elements

uh in the long run

and then just

probably merge all of them over the plate so we can

make any transforms or adjustments and color changes to

our CG elements without harming our

our new background plate

um so we will

continue our

transform and I'll just move these into place

and we're gonna disable this guy for a little

he's a little heavy

and then we're gonna wanna match our grade

so we're gonna just wanna help our

our tanks fit into the scene a little bit um

and that's probably gonna involve

uh bringing our multiply a little bit warmer

and it's a little too warm

just bring it down a little bit

make sure our black levels are pretty close

so maybe we could bring those down a little bit

and any game of changes you wanna make as well in here

maybe those darken those tanks up a little bit alright

and they're sitting in there a little bit happier

and we'll get our our dust elements on top of them

uh this one as we saw before was way too heavy so

we're just gonna simply mix that back and just give it

an ever so slight hint and

we can do a little bit of adjustment with a grade too

if we feel that we need to

and maybe we do maybe we just need to

add a little bit of colour into that

we wanna keep a nice sandy overtone um

just to kinda help and

don't feel that you need to color correct stuff

just for the sake of color correcting

sometimes it comes out of CG and uh fits in pretty well

so uh we're also gonna add a little bit of a rotate

cause these guys at the end are are

floating off the ground a little bit

cool and maybe we can move em

just to cover up this little

gap in the tank because our CG didn't

didn't didn't quite match up with our tower

as you can see so

now we've put it in there and it's a happy camper

and you might think oh wait

RCG is over the front of the bridge

and it is so

if you want to have something to look through

which is sometimes pretty handy

um we can read in our bridge mat

and we will add a shuffle note to that

because we're gonna wanna

put that red channel back into the Alpha

so we'll take a look

that's exactly what we wanted

and then we can add a

copy note between these two

hot key of K

Premult

and emerge so we take a look at this one

you can see that our

our CGS fit in there pretty nicely now

so we can go ahead

and adjust any more colour correction

but perhaps we'll leave those for a little bit and uh

usually when I'm compositing CG

I wanna gamma up and down and make sure that

uh my elements are going with my gamma slider

and the ones behind the dust seem a little bit

lifted because the dust is doing that to them

so that's what we want

that's the effect of the dust

and environment that we've given them

and from there we can uh carry on

we're gonna wanna just layout our

our CG elements pretty quickly

and then we can go back

and make any tweaks that we need to

uh afterwards

so uh with that I'm gonna bring in a bunch more CG

elements and we'll take a quick look at them

okay so we've got a bunch more CG elements to uh start

getting in the scene

so before we uh

mess around too much with any one individual one

we're gonna wanna slap

comp our whole scene together and uh

look and see what work really needs to be done and uh

what can be avoided

so um I've read in a whole bunch of read notes here

uh we'll take a look at each one

and think about where we wanna put them

so these are anti

aircraft guns that are gonna wanna go on the bridge

so we're gonna

merge those ones over quickly

uh make sure it's the right a over B

um and then we've got some flack

looks like we've got

uh aircraft here

and another aircraft here

so we'll take a look at them

there's one aircraft

there's the other aircraft

we also have some bullets

and some gun flashes

and then down here we have

some reflections and more bullets okay

so what we're gonna wanna do is just start

slapping everything

over itself

I have a feeling that it's in a pretty good order here

so we got our flat guns there

then we'll put

our flack over next

then we'll put our

aircraft on top of the flack

so that it's just behind our aircrafts

and not covering up our aircraft

and then we'll add our bullets

uh our Spitfire

is shooting at the 1:09

so the Spitfire

bullets are gonna be going over the Spitfire

and our reflection is gonna be going

over our backplate

so with that

I'm gonna start setting these guys up with a few merges

and we'll take a look back

alright now the fun begins

we got ourselves a little bit of a tree going here um

and a lot of mayhem going on in the scene

so that's pretty sweet

nothing's looking too horrible on uh

the first glimpse

with the exception of this giant built black bar here

so whenever I'm problem solving in a big comp uh

it typically helps just to start

at the bottom and work your way up the tree

um however it's black here and black there

so we know that we're gonna have a problem somewhere

we can take a look at our alpha channel

and we see that we got a big white bar coming in

so we're gonna wanna walk up

the chain until that disappears

nope and there it is

so we'll zoom in there

take a look ah

and this is our reflection layer

so I put everything in the

in what I believe to be the correct order

and we'll see if it if that holds up true

as we go through

we've got our anti aircraft over the bridge

turret bullets

then our reflection

and then all of our foreground elements like our flak

bullets uh our beauty aircraft

and gunfire

so uh this reflection is causing that black line

because it should be

since it's being reflected

it should be a plus instead of an over

let's see if that takes care of it

we'll change that to a plus

and it didn't

so let's take a look at here

and it has an alpha channel

it also doesn't need an alpha channel

cause it's a reflection and it's being plus

so we're not doing anything with

the alpha channel for that

particular one

so we're gonna add a shuffle node

and shuffle it out

and let's see if that took care of it

I did okay so before we go any farther

I want to pick a hero frame for myself

just where I can see

all the elements that I'm gonna need to color correct

and just sort of get the scene fitting in

on that particular frame

and then uh

we can watch some playbacks as we

see all kinds of mayhem going through there

we'll look for a good

frame that has most of the elements in it

we got some bullets on that one

and this one's pretty good

uh we'll have to scrub through and

pick some different ones

but this isn't a bad one to start off with

so uh now that we've got everything uh

comp together

we're gonna follow some

similar approaches that we did with the tanks

and start grating everything um

and adding little nuances

uh such as the reflections

which I don't think you can really

see in here

just take a look

they're ever so slightly there

so we're gonna go through and just add some stuff that

that really helps sell this comp from here

so before we go much further um

if you're working in a pipeline of people

and you have a lot of CG artists and uh

you're a busy compositor

typically you'll

you can get a

a script at this stage from maybe a CG

artist or a lighter or something like that

that would be called a slap comp

so they just left their

elements right on top of themselves

and then they've given them to you

so you can start your work from here

everything's laid out in the proper order that the

that the artist who rendered everything planned for uh

all the elements are

overlapping in the proper ways with the

exception of maybe some paint that you might have to do

so from here on out

it is really in the compositor's hands

and unless you need maybe some other roto or something

but it's gone through the background department

which is giving us these renders and the CG

department that's given us maybe some of those fire

and smoke elements

and some air

aircraft and things like that

and now it is in your hands

the compositor's hands

so it's your job to take a

discount from here

to a place where you can show it to the supervisor

which then can be delivered to the clients

so let's head down that road

so right away I wanna

start dealing with things that are

sore to my eyes um

we could go through uh

one element at a time

which isn't a bad way

and just start working down the train

from the top

and to do that

I'm just gonna start disabling some of these overs

until I get to an area that I wanna work with

okay so let's finish with our anti

with our bridge scene and just kinda get that behind us

ha that's it

it's gonna be the back element um

we might as well start there

add a little bit of a grade

these guys are feeling a little bit harsh and blue

cause they were designed to match

the blue scene that we had before

so we're gonna wanna warm up our gamma a little bit

and follow the same lines that we did

actually we probably just do that and then multiply

and maybe even lift those guys a little bit ah

and be careful whenever you use the lift um

and then straight into and over

since you're changing the value of black here

uh anytime you use a a lift or something like that

so you see what's happening there

um that's adding to this uh

addition that it's doing here

so you're gonna wanna

add a premult underneath that if you're doing anything

along those lines

um also don't forget when you're uh

working with CG um

you always wanna grade before your premult

so uh that's an important thing to keep in mind

and typically

if you're gonna have a premult like that in a grade

you're gonna wanna have an unpremult supply there too

um and that'll just get rid of any

edge funkiness that might be happening

so you can see with that unpremult there

we're not getting a funky dark edge

so that when we repremult it

it's it's uh

where it should be

uh instead of

where it shouldn't be

so you getting some

some of those extra pixels to work with there

so carry on playing around with that

until you get the colour the way you like it

and it'll be sitting in there

and we'll move on to the reflections

okay so we've added some bullets as well um

there are none on our frame here

and these come out of the turrets

so uh we'll take a look at those

they're a little bit too red for my liking um

so wherever you wanna go with these

it's a personal choice at this point

I think perhaps they may look better if they were

desaturated a little bit

so bring into saturation node

bring out some of that bright red

and then we'll grade them

up on the gamma a little bit

and maybe we'll bring up our gain values

make them pretty bright cause they are trace arounds

and those tend to stand out over the dark backgrounds

yeah there we go maybe take a little bit

more of that red out there alright

those are looking pretty good

since they are like glowing anyway

maybe we'll add a glow node here

to kinda help sell them and see see what that's about

and you can see that that just sort of adds

adds to the to the bridge everything

so as those pop by they'll really

really kiss that scene

and add some lighting where you perhaps won't have it

um and lighten up some of these dark areas and such

we're working a little high gamma there

that's much better um

now we can really see the glow that uh

our bullets are gonna have and uh

exactly what it's doing

so that's not too bad

maybe we'll mix it back a little bit uh

it's just the standard one uh

if you wanna adjust anything

you got your brightness values there um

uh tolerance is gonna be how much it sort of glows um

so that we can dial that back ever so slightly

and saturation as well as is

how saturated you want the glow

and actually the saturation is not too bad

desaturated looks pretty cool

so split the difference

a favorite term among clients

find something you like

and then split the difference between the two

and we'll keep an eye on our

bottom of our chain

and see what that's looking when it's all together

and maybe went a little bit heavy on that uh

gamma of the turrets so

we can maybe lift those up a little bit more break it

come back till we like it

now someone asked me the other day uh

why do I look at my frame uh

the way I do

rather than zoomed in and

and focused

and I used to

I used to work

with everything as blown up as I could get it

and I found that I was off often

not paying attention to the big picture of things

so I like to

kind of keep my comp a little bit farther away from me

just so I can see everything that's going on

and I don't get too caught up on the fine

fine details

cause although the fine details are important

the big picture is the most important

and then you can start paying attention to fine details

uh farther on down the road um

so once I'm happy with those bullets

uh I know I've got some more bullets

so I'll perhaps copy this

uh section of the script here

and go a bullet hunting and

we'll take a closer look at those later

but we'll just

while I'm thinking about it

paste that right there

and that's some time saved

and part of the beauty of node base compositing

um we're gonna move on to the reflections

the reflections are an important part of this script

because if you didn't have any reflections in here

just sort of

be a lot more obvious than it

perhaps already is

so we're gonna spend a little

bit of time on these reflections

I'm gonna show you how to set them up

maybe with a little bit of distortion so they match

the reflections that are already there

and just to kind of help us see everything

we're gonna

take a look at these aircraft that we have in the scene

go back to a frame where we know

we're gonna have some reflections in there

uh and some bullets and wow

that glows bright so

we're gonna actually disable those for the time being

so I can pay attention to my reflections okay

so don't be afraid to spread out in your comps

especially in ones like this uh

it's gonna be a big tree

so you might as well

not try to avoid it

and that's why we can make our work area so big

don't go over the top

but be generous and make sure you have enough room

and then you can

compact it all down later alright

so moving on to reflections uh

we're gonna start with the aircraft reflections that we

that we have and

the first thing we're gonna wanna do is we shuffle that

our alpha channel

so we're gonna wanna grade them up a little bit

cause I can't really see them so

just for the time being

brighten them up maybe that's a little bit over the top

we'll find out soon

it is over the top

and we're gonna use a node called the I distort node

the I distort node just to distort your image based on

another image or a map that you're putting into

so bring that up here

and what are we gonna distort it by

we're gonna wanna distort it by the plate

so I'm gonna go and grab a copy of that

and actually

I'm gonna read in the original one just so that

I have some of those highlights that I used to

there she is

take a look at that

and we will pull a key on that quickly

give ourselves a little alpha channel

look at her alpha

Wanna crank on these a little bit so that uh

our I just don't know it has

some good differences in the values to use

and we're gonna blur it a little bit

so going harsh on it doesn't matter too much okay

so that'll work

so we're gonna take that alpha we just created

and add it to a copy note

and we're gonna wanna take this alpha this color

so rather than taking the alpha from over here

I'm gonna uh

shuffle it into a new channel and we'll call it

the store dot U

and then we'll open our I distort note

and we'll take a look

uh the UV channels or

the channels that we want to distort by

uh distort the layer we just made

and we'll take a look and see what's happened there

a whole lot of nothing really so um

what we're gonna wanna do is play around with

the UV scale um

and see what we can get out of that awesome

and so if we look at that versus our plate

you can see that are

uh distortions happening along that key that we made so

uh the alpha channel here is causing things like that

so you can play with the scale as much as you want

bring it right back in there and see the full effect uh

so maybe we'll blur that a little bit

and adjust our grade

so it's just ever so slightly there

awesome okay

um the other thing is our CG

render of reflections only has the aircraft in it uh

you can't really tell

but if we grade it up like we did before

uh just has the aircraft in it

we got a lot more going on in the scene

and also if you take a quick look here

um at our plate uh

there's some dark areas too uh

which cause the reflection to be less bright

so when we have things like our our flack come in

which I believe is

down here we're gonna want that to show up in

our reflection too

so you can see that with our aircraft there

it kinda helps it a little bit um

and now we we're gonna want

these areas to darken up as though uh

the towers do on the on the water

and we're also gonna want some reflections from our

our bullets and such so

we're gonna add those ourselves

uh since we don't have them in our reflections

past from CG

so I'm gonna spend a little bit of time

we're gonna uh grab

our turret bullets

uh for reflection that we have down here

and we are gonna put those

over that guy and take a look at them

and they don't quite line up how we want them to

so we're gonna have to mirror them

because they're just a normal render of

all of the bullets going off

there's no reflection

so to create our own

we're gonna add a mirror node

we're just gonna mirror those on the horizontal access

and we're also gonna have to add a transform

move them down

and they don't look quite right

so we're gonna add a corner pin too

and then we can really just squash those together oops

clean that out grab our corner pin

and sort of flatten those

out until we get a look we like

since they're coming off the water there

and we're also gonna grate them down a lot as well

so we're gonna grate under here

and we can also add that uh that other uh

section that we made to or just do that all in here

so add another saturation node

bring down our saturation

and perhaps blur them a little bit

and then we'll take

our color channel here for our distortion

put them in there

and we got something going on

so that's great okay

so I've created a bunch of my elements in the scene now

um and I just wanted to point out that uh

while I was doing that

I also added the

I distort node to the bottom of my flack reflections

because I did not have it before

and they were looking a little bit funky there

so I added the

the I distort the same way that I did for uh

the other reflection pass

and I just blurred by my alpha inside the

inside that node just ever so slightly

uh to get it looking like it is now

and I'm feeling pretty happy with that uh

maybe I could add a little bit of

green into my

camera here will break it

and find something that we like okay

uh so we'll watch that in the playthrough and see

see how it holds up um

and I just wanted to show you a couple more uh tricks

for example

if you need to color grade something quickly

uh I don't think I ever really went over that

so I'll do that now

let's find a good frame of the

Spitfire will turn off our reflections

for the time being

okay um and if you need to grade something quickly

uh you're in a hurry

a good way to do that is it will bring in a grade node

and we'll take a look at this particular element

so good way to do that is we'll

we'll use the black

white point lift and gain to just sort of uh

match the grades between the two

so for example

I'm gonna select my color picker here on my black point

and find an area that should be black on this Spitfire

so uh either in this vent here or something there

and we'll find that our

dark values are probably pretty blue since uh

the light in our 3D scene was pretty blue

um and then we'll also go down to our white point

and we'll pick something that should be white

or close to white

whoops okay

and uh I made a mistake there

uh in that I need to press Control

Alt and shift to select from the source that the grade

note is plugged into

otherwise it'll select from the colour on the viewer

so if we put press Control Alt and shift

and we'll take a look at our grade

you can see what that does to our element

so we'll plug that right in here so we can see it uh

and that's pretty much neutralizing our black and white

um sayin our black is this

our whitest value is this

and then we can go down the chain and

go to our left and we'll choose a value from our

bridge so this time I don't want to select from my

grade source

so just the control and shift key will work

and we'll find something that's black and

we'll do the same from

the gain which is the whites and

from this one we're gonna wanna

wanna probably grab it right from

there so it's not polluted by our smoke element

and take a look at that

and you can see it's pretty bright

doesn't look too good

and the reason for that is cause our white down here is

not really meant to be white

so it's looking a little funky

so we can go back into our white point

and we can just sorta ease up on our intensity

just until we find something that we like

and once we find once we

we're feeling pretty comfortable with it um

we can then go back into our games and

and start grading from there

so it's always a good way to get a quick starting point

and then we can maybe bring our gamma up a little bit

or down whatever you think you might need uh

we're gonna multiply down

is probably what we wanna do on that one

and that's a quick way to get it looking pretty good so

and the other thing I wanted to mention is

while I was looking at these aircraft

just over the background plate

let's go back to where our measurement is

turn those bullets off again pretty bright um

is when I I first we had an over like this

and then we had these thick black lines around the wing

and they just weren't really doing it for me um

especially around the trailing edge here

they're not really what I was hoping for

so what I did was I brought in an admix node

and uh connected it

so that I could have control over my

uh over the multiplication that's happening there

so I'll open that up here for you full force

and I just kind of pulled on these curves

both sides

until that darkness disappeared

so I feel like that sits in

the scene a little bit better uh

so we're gonna do that with our measurement

we're also gonna use the same thing

we probably use the exact same one

to over these both aircraft

into our scene so that our Spitfire doesn't end up with

the same dark edges okay

so I'm feeling pretty happy about this um

the grades are looking pretty good

there's a couple harsh edges that I wanna deal with um

and then we'll be moving on our way to

a finished comp here

so uh one element that I wanted to show you uh

how I created um

was these gun flashes

they come in here

and we put them over our Spitfire

so they need a little bit of love and attention but

um I would like to show you how I made them cause uh

things like that often

can be a pain in the neck you

don't wanna have to be tracking a whole bunch of things

so the way I did that is I made a UV pass to attach

uh a bunch of muzzle flashes uh to

our Spitfire 8 to be precise

which would be a pain in the neck

we had to track and deal with the scaling and stuff

so since we've already got this

passes full of information

we're gonna use that and introduce our friend

the s t map node

this is one of the cooler nodes that

Newcast makes things super easy

so I'm gonna connect my s t map

to my UV pass

and my source map to

my UV snapshot

um and we'll take a look at that and

doesn't seem to be doing a whole lot

and the reason for that is because we did not set up

rst map node

uh we need to go and tell it what the UV channels are

uh it says none now

so we'll go to RGB

and right there you can see

something pretty neat happening the

UV snapshot has mapped itself to

uh the UV pass

so you can see where we're going with this

and now we're just gonna have a heyday

making fun muzzle flashes

so using this muzzle flash

the reason I have the UV

snapshot is to sort of speed up

uh my placing process

so we're gonna put this

over that one and attach the source there

and take a look

need a transform

scale it way way down

and we'll take a look at our s t map node sweet

and we're gonna over this over our Spitfire to see

uh precisely where to place everything

and we'll disable that

and we're actually gonna replace this with a constant

of the same size and the size of that is 2:56

2:56 so that's what we wanna make this

um and if we drop that on there

take a look now we just have our muzzle flash

we can put it over our Spitfire

see it's maybe a little bit big

but you can see we got this line up here

so to get rid of that we're gonna want to

add an unpremote node and unpremotify uh

our UV pass and then before we go back into our a here

we'll add a premult

and that should take care of the rest of it ah

voila it does okay

so now all we have left to do is

add a bunch of these eight to be precise and

uh move them along the wing

we can move the Spitfire a little bit closer

and we can see that the

red squares here represent gun sites

so I'll add a frame hold

and we will pick a frame

that has a muzzle flash

and now we can

go through and place a whole bunch of these um

we're also gonna use a pretty neat expression to

alternate the rotation

because if we were just to simply

move all these over here with and time off some of them

they might look pretty similar

so uh in my transform node

I'm actually gonna add a quick little expression

that we're gonna use for all of these guys

and the expression that I'm gonna use is gonna be on

the rotate attribute

so we'll go into our rotate attribute

and press the equals key

now bring up our expression editor

and what we're gonna type in here is

we want a random rotate

uh per frame

so we're gonna use

random in here

and it tells us the wrong number of arguments

because we haven't added any

and so we're gonna add the word frame in here

close parentheses

and that'll give us a

if we take a look at that

that'll give us a random rotation value

that changes per frame

but if you'll notice it only goes between 0 and one

uh which is the default of that random flag

so what we're gonna wanna do is

edit our expression

and simply throw a 360 degrees

times our expression press okay

and now it's not too easy to see cause they're so small

but you can see that the rotation value here

is changing every frame

so uh that'll give us a rotation around the center of

our 2D element

and you can kinda see where we're going with that

so now we're gonna add another one of these transforms

we'll copy and paste that one

and throw it into that merge

and move it along our X

and down a little bit on our

y and maybe scale that one down a little bit

and we'll carry on and do the same for the next four

and actually before we go any further uh

so we got our first one we'll leave that as the default

uh the second one however we're gonna wanna have

uh time offset node

just so that it's not the same flash

and they don't all light up on the very same frame

and will offset it say maybe

10 frames ah

which brings me to another point

if this runs out

on our read note

what we're gonna wanna do

is instead of setting it to hold

we're gonna wanna set it to loop

and loop this particular one

I rendered out to be 117 frames but uh

when you look for muzzle flash elements um

maybe you'll find one with two or three flashes and

it'll end in four or five frames

so set it to loop and it'll just keep

repeating those same four or five frames

and then you can add

this transform node and a time offset

and each one will flash at a different speed

and different rotation

to make them all look very different from just one

two or three muzzle flashes

and if you need some muzzle flashes

you can find some pretty good

ones at Detonation Films and things like that

so take a look around for some

and I'm gonna add a few more of these

and we'll see what the final element looks like

alright cool

so we're starting to get something pretty neat here

we got four of those ones there

and we could continue this

process until we had eight of them or

we could simply add a

time offset note here

and maybe offset it

maybe four or five frames or something like that and a

mirror node

flip it horizontally

and a transform node and a merge node

a over B and

and adjust our transform here

we'll move the center over to

the center of our stuff with the

control command key

and we'll just put those into the right place

or where we think is right

where it looks good anyway

and we'll disable our framehold node

and take a quick look at that

so we can see as this comes through with the aircraft

uh we've got those guns popping on and off

and that's a quick way to make elements using a UV pass

and those things are just the best

so whenever you're doing a lot of compositing

don't hesitate to ask for one of those uh

cause if you need to add damage or something

there's no point going back to 3D

you can do it right here in nuke

uh quickly and efficiently

you see how quickly that's playing back so

uh have fun with stuff like that

and sky's the limit

so find some cool elements and uh

we'll get back to compositing

alright so we got that element in there

added some glow

a little bit of color correction and uh

we're looking pretty good

uh we gotta re enable our

reflections here and take a look at

what we got going on

so I'm pretty happy with most of

the stuff that we have in here so far

uh we if we take a look at our comp here

before we merge it over our background

you can see that's our whole comp without our backplate

which is pretty cool

I like looking at that from time to time

um so the good thing about this now is we've got this

uh single alpha

so we can actually add a light wrap uh

for the whole sky over

um all of our CG elements

so we're gonna do that

uh right now with a light wrap

and we wanna light wrap a

and our B will be our skypipe

let's see what happens there

when we look at our light wrap

yeah that has our bridge in it

so that's gonna sit a little bit better with me um

we don't wanna overdo it

it's usually pretty obvious when people overdo

overdo light wraps

so wanna do it just enough and

probably not that much intensity

I'll take a look

yeah that'll just help uh blend in with the edges um

these edges are still feeling a little bit hard to me

so maybe we'll go up here and say edge blur up here

oops not edge detect although that's a cool node

and 3 is way too much so maybe point eight

and that's just giving us a tiny little bit of softness

which is just what I wanted

alright so that's sitting in there pretty good

we'll uh take a look at our flack too

I feel like the flack's uh

getting hit with that light rat pretty heavily

and it's not quite what I want yet so

maybe

if we

add a we'll add an a road filter

so maybe we go point five here

make it a gasuan blur

then just blur it on the alpha

and we're getting

picking up a little bit of a white edge

so maybe we'll try a primoth on those guys just in case

and that does it for us

looks like we were

adding a little bit of a lift in there

so good thing we added that premult

you want to be careful with stuff like that

because that can go without being noticed

so also what I like to do

is pay attention to an area on my back background plate

and then I like to

1 2 and just make sure that I'm not getting any funky

colour shift

cause that can get away from you before you know it

okay so I'm feeling pretty good about that

we're gonna check down here with our uh

with our cleanup mat there

and I just wanna

add kind of an overall color correction

like we did last time

uh I feel like now we've got all our elements in here

it's it would be a pretty good time to do that

so it's still feeling a little saturated to me overall

I'm gonna bring in a saturation node at this point

it's really just for

sort of what you're looking for

maybe at this point

you're matching shots to other people shots

so this is where you'd uh

kinda go around and

either get a reference shot or something like that

so I'm gonna

suck some of that saturation out like we did before

maybe just a point eight five

which is what we did before

I think too

you know I think I'm just gonna bring in that

we added some green last time

at the end of one of the shots

so I'm gonna bring in

that grade note and see how that sits

and that's looking pretty cool

so let's see without that

maybe it's a little heavy

but I like it

so we'll leave it for now

and um lastly

I just feel like the

edges of the shot are still a little bit too bright

so we're gonna add a little bit of a vignette

um just to kind of darken down those areas

so we'll add a grade here and pipe in a matte

we'll use a roto node

keep it light and

oops

and we're gonna invert that shape

because we want it to happen to the edges

and now we'll just add a ton of blur

maybe 100

and see if we like that

awesome yep

I'm thinking that's helping us a little bit

so we're gonna do that

let's try the negative blur and

see what that looks like actually

that's a little bit nicer

so it gives us a nice little focal point there

and maybe we'll

grab the top of this one so

and it goes up to the moon

so now we've got a frame that I'm feeling pretty

comfortable with

so we're gonna go ahead and play this one through and

and see what else there

there would be to do or what else we can

add to make the shot a little bit smoother

okay so it's looking pretty good

I just wanted to take down the uh

the I just stored a little bit on the on those uh

flack reflections

it was a little bit too noisy

and then also I noticed that there's a bullet that

gets stuck here um

which I believe is coming from the turret bullets

it is so we're gonna wanna have go ahead and just add a

rota paint node

and we'll take a look at this element and see

ah just didn't get animated far enough I don't think

so from 1:01 to the end we are going to want to paint

check our output RGBA and grab Paint Alpha Black

color black

and we'll just paint that guy out

and set the frame in the lifetime from frame to end

so that should stay there from the beginning

and it will

allow us the one frame that bullet needs to get out

awesome cool

so now the one thing after watching this play through

that I think this could use is maybe

a little bit of background flashing

background luminance or something

so we're gonna add a little bit of that

and then we'll be done with the comp

okay so finally

we're gonna add one more finishing touch

and we're just gonna

add some flashes to this background sky area

I just kind of give it more of a

an ambiance of a battlefield or something with

some stuff going on in the background um

so I've drawn three roto shapes here just there

there and there

just quick circles and feather them around between 600

and let's see

200 and 500 so um

you guys can

sort of mess around with that

and get them to your liking

let's make it 300 just for good measure

and then we'll bring in a

a dissolve node

there's a couple ways we could do this

but I think this is probably gonna be the fastest one

we could animate the uh

dissolves in each roto uh

the opacity in each roto shape

uh or we could animate the uh

or we could animate the grade but

using the similar method to what we did for the guns

for the Spitfire

I'm gonna bring it dissolve here so

and we will

connect that to all these guys

and it doesn't really matter the order that

you do it in cause it's gonna be random anyway

we're gonna add an expression

and the expression is going to say random

frame

and we're actually gonna divide this

frame by four this time

just to kinda slow it down a little bit

and uh I also want it to be greater than one

so we're gonna say maybe seven

times uh random frame 4 okay

so now when we scrub through here

we got a whole bunch of different values

and they don't change uh

too too quickly between each one

so that's uh gonna be perfect

we're gonna bring in a grade node

plug that into our background

and attach the mask input to our rotto shapes

and we'll just sort of uh try maybe

2.6

and take a look at that

oh gonna unplug the mask

see what our gray is actually doing

and that just kind of brightens the sky

the way I wanted it to

so we'll plug our mask input back in there

and take a quick look and see what that looks like

so that'll just add some

ever so subtle flashing in the background

just give it

a feeling that something's going on back there

um and give those airplanes a reason for being here

so we'll take a look at that in the whole camp

render one out

render one out and see what it looks like

so that should do it for us

um thanks for

joining myself in Jeremy for this class of Nuke 2 14

you guys have been great

and thanks for all the feedback on the forums

I wish you guys

the best of luck in your compositing careers

and don't forget when you're freelancing

uh if you're freelancing

be confident in your abilities

and be aware of the deadlines

match your blacks

and I wanna extend a special thanks to

Jaime Fortunia for helping me with this particular shot

so don't forget to

ask questions to those that you meet along the way

um they you can learn a lot from them

uh it's always nice to see a personal idea

all the way through to the end

so I'd like to thank uh

zinc as well for uh

the render help and uh

Dylan Winter for uh

help animating some of those tanks

and you guys have fun with this shot

I hope you Learned a lot and happy compositing