Create Chromatic Aberration in Nuke and After Effects

Ready to make your 3D render look less perfect and more real? In this lesson you'll learn how to use chromatic aberration to do just that. It's a bit of a mouthful, but its an easy effect to understand. Joey is going to show you how to do this in both Nuke and After Effects. If you've been wondering what the differences between those two programs are, there's no time like the present! Take a peek in the resources tab if you want to grab a 15-Day free trial of Nuke to play around with.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

    00:00:00,342(dramatic music)
    00:00:22,369- Hey there Joey here for School of Motion.
    00:00:24,056In this lesson we are going to take a look
    00:00:26,161at chromatic aberration in both After Effects and Nuke.
    00:00:30,504Now what the heck is chromatic aberration
    00:00:32,523and why do I need to know about it?
    00:00:33,956Well chromatic aberration is one of those things
    00:00:36,835that happens sometimes when you shoot photography.
    00:00:40,004It's a real world artifact of the imperfectness
    00:00:43,361of the lenses that we use on our cameras.
    00:00:45,563And so adding it to CG renders can make them feel
    00:00:48,723more photographed which adds to the realism
    00:00:51,406and also looks really cool.
    00:00:53,201I'm gonna show you some ways to achieve the effect
    00:00:55,338without any third party plug ins.
    00:00:57,387Don't forget to sign up for a free student account
    00:00:59,647so you can grab the project files from this lesson,
    00:01:01,987as well as assets from any other lesson on the site.
    00:01:04,825Now lets hop in and get started.
    00:01:07,721So what I wanna show you guys today is how to achieve
    00:01:10,536an effect called the chromatic aberration.
    00:01:13,291And it's kind of a very technical name.
    00:01:17,257But what it means is that
    00:01:19,483sometimes if you're shooting something with a camera,
    00:01:24,319depending on the quality of the lens,
    00:01:26,171the quality of the camera,
    00:01:27,568you may get an effect where the red blue and green
    00:01:30,894parts of the image don't line up perfectly.
    00:01:34,673And I'm sure you all have seen this before
    00:01:36,428and that actually when you use this effect
    00:01:38,913it almost makes your video feel like it came from the 1980s
    00:01:42,507because that was sort of the hey day
    00:01:44,414of really crummy quality video.
    00:01:47,871So chromatic aberration is one of those effects
    00:01:50,080that compositors use to kind of beat up
    00:01:53,503their perfect renders right.
    00:01:55,714You have software like Maya and Cinema 4D
    00:01:58,493that give you absolutely pixel perfect renders
    00:02:00,865and that doesn't look real because we're not used
    00:02:03,168to seeing things that are perfect.
    00:02:04,798'Cause nothing in the real world is perfect.
    00:02:07,294So we beat our footage up and one of the ways we do that
    00:02:09,818is by having the red green and blue channels
    00:02:13,323get a little bit out of sync.
    00:02:14,641So I'm gonna show you how to do that
    00:02:16,030first in After Effects.
    00:02:18,290So we've just got a pretty simple little scene here.
    00:02:21,220And you guys all saw the preview of this
    00:02:22,910when you started the video.
    00:02:24,434Right so you've got one cube, it kinda turns.
    00:02:26,682There's a missing frame there don't worry about that.
    00:02:28,829And then it fires out and you know there's some cloned cubes
    00:02:33,626and it's this cool composition.
    00:02:35,160But I set this up specifically for this tutorial
    00:02:39,190because you've got some very thin white lines, right.
    00:02:42,278And then you've got red, green and blue colors,
    00:02:44,448there's also some yellow.
    00:02:45,505But I wanted to show you a good example
    00:02:48,883of a shot that would benefit
    00:02:50,771from using chromatic aberration.
    00:02:53,092So the first thing that you need to understand
    00:02:56,027and a lot of people who use After Effects don't
    00:02:58,353really think in these terms because one of the things
    00:03:01,425I don't like about After Effects is that it hides
    00:03:04,489a lot of the technical stuff from you.
    00:03:07,114It makes it a lot easier but at the same time,
    00:03:13,544I dunno how to really put this,
    00:03:14,633it's sort of hiding things from you,
    00:03:16,722that if you knew they were there,
    00:03:18,307would give you more options with your composite right.
    00:03:21,770So one of those things is the fact that every image
    00:03:25,890you bring into After Effects has three channels,
    00:03:30,295sometimes four alright.
    00:03:32,480And if you see this little button right here right
    00:03:35,023and maybe you've all noticed it but I bet most of you
    00:03:37,422have never clicked it.
    00:03:38,301If you click this you can actually see the red, green,
    00:03:42,609blue and alpha channel on their own.
    00:03:45,381So let's look at the red channel.
    00:03:47,352Right you see how my viewer now has this red line around it.
    00:03:50,428OK so this is a black and white image obviously,
    00:03:53,124but what this tells After Effects is how much red
    00:03:57,283is in each part of the image.
    00:03:58,998Right so over here it's black so that means
    00:04:00,868there's no red over here.
    00:04:02,794And over here it's a lot brighter,
    00:04:04,712so that means there's more red right there.
    00:04:06,873Now let's switch to the green channel.
    00:04:09,100The hot key to do this by the way,
    00:04:10,823'cause I'm a huge fan of hot keys,
    00:04:12,355is you hold option and you hit two for green,
    00:04:16,160three for blue, one for red, four for alpha.
    00:04:20,413Alright so it's option one, two, three, four.
    00:04:23,099And if you then hit,
    00:04:25,460so if I hit option one and then I hit option one again,
    00:04:28,221it brings me back to my full RGB view.
    00:04:31,165Alright so we're looking at the green channel,
    00:04:32,959we're looking at the blue channel,
    00:04:34,668we're looking at the alpha channel.
    00:04:35,745The alpha channel is all white,
    00:04:37,341meaning there's no transparency in this scene.
    00:04:40,451So now this just demonstrates to you that your image
    00:04:44,692has three color channels.
    00:04:46,886Now they're all combined into this one layer,
    00:04:49,457so how do we separate them out?
    00:04:51,741Alright so the first thing I wanna do
    00:04:53,656is just color correct this a little bit.
    00:04:55,942Because it's a little bit dark.
    00:04:59,859When you render things right out of Cinema 4D,
    00:05:03,313it's very rare that you're gonna just leave them
    00:05:06,304the way they are.
    00:05:07,139You're almost always gonna touch them up a little bit.
    00:05:10,408And I'm not gonna go too crazy here,
    00:05:12,307I just wanna show you some of the weaknesses
    00:05:14,869of After Effects in the process of doing this.
    00:05:17,144So I've color corrected it a little bit.
    00:05:19,801I'm gonna duplicate this layer.
    00:05:22,352And I'm gonna set it to add mode.
    00:05:26,204And I'm just gonna throw a fast blur
    00:05:27,685on there really quickly.
    00:05:29,239Just to get a little bit of a glow.
    00:05:32,514I'm gonna zoom out and I wanna mask my glow layer,
    00:05:37,778just so it's kinda catching the tops of some of these.
    00:05:40,259I don't really want the whole scene to have this glow on it.
    00:05:45,694Alright and you can see I'm getting
    00:05:46,923this little washed out area here.
    00:05:48,529So on my glow layer,
    00:05:51,287I'm gonna crush the blacks a little bit so that goes away.
    00:05:53,959Alright so I just got like a little nice kinda glow
    00:05:56,480now on this right.
    00:05:59,851And then maybe I wanna add an adjustment layer,
    00:06:04,103so I can color correct this a little bit more.
    00:06:05,784So I'm gonna add a color balance effect.
    00:06:09,017I'm doing this really quickly
    00:06:10,244because I don't wanna spend too much time
    00:06:12,848on this for this part of the tutorial.
    00:06:15,546But I definitely think I wanna do a full
    00:06:19,940really nice composite in After Effects
    00:06:21,804for a tutorial one day because there's a lot of tricks to it
    00:06:25,637that I've learned over the years to get your renders
    00:06:28,181to look really good.
    00:06:29,240So anyway we're gonna stop here,
    00:06:30,676we're gonna pretend that this is what we want OK?
    00:06:33,374So now I need to precompose all of this.
    00:06:36,308Alright and this is where After Effects
    00:06:37,966starts to make this a little harder than it should be.
    00:06:41,550I have a composite chain here.
    00:06:45,492I've got my base render with some color correction on it,
    00:06:49,674then I've got a copy of that,
    00:06:51,351that I'm blurring and adding over the original
    00:06:54,074to create some glows.
    00:06:56,122I've got an adjustment layer that's working
    00:06:57,804on my render and my glow and it's just kind of changing
    00:07:02,217the colors up a little bit.
    00:07:04,842And I'm not too happy with how that's looking right now
    00:07:06,817but I'm gonna leave it.
    00:07:08,089So next what I wanna do is take the result of all of this
    00:07:12,530and I wanna break it up into the red,
    00:07:14,131green and blue channels.
    00:07:15,895And unfortunately there's no way to easily do that
    00:07:20,394with these three layers still separated out
    00:07:23,290the way they are.
    00:07:24,331So I'm gonna have to precompose them.
    00:07:26,102So I'm gonna select all three of them,
    00:07:27,817I'm gonna hit shift command c
    00:07:29,272to bring up my precomp dialogue,
    00:07:31,913and I'm just gonna call this image.
    00:07:36,903Alright so now that this is all precomped,
    00:07:39,024we can now separate it into the channels.
    00:07:41,308So let me rename this layer red.
    00:07:44,669And what I'm gonna do is I'm gonna grab an effect.
    00:07:47,249And there's a group of effects called channel effects
    00:07:51,001and these are all things that work on individual channels
    00:07:54,872or sometimes multiple channels.
    00:07:57,277And to be honest I have not seen very many after effects
    00:08:00,705artists use these.
    00:08:01,959When I hire freelancers for TOIL,
    00:08:05,884most of them are sort of self taught
    00:08:08,792and when you self teach yourself,
    00:08:12,818that was really bad grammar right there.
    00:08:14,479When you teach yourself After Effects,
    00:08:18,080most of they time you're figuring out the quickest,
    00:08:21,147easiest way to do things,
    00:08:22,280and using these effects is usually not the quickest,
    00:08:24,792easiest way but they're very powerful.
    00:08:27,617So what I'm gonna use is the shift channels effect.
    00:08:31,659Now what does shift channels effect do?
    00:08:34,056Alright well if you look up here in the effect controls,
    00:08:37,202it basically lets me switch which channels
    00:08:40,499are going to be used for the red, green,
    00:08:42,620blue and alpha channels.
    00:08:44,285So this layer here has a red channel right,
    00:08:47,341and just to show you one more time,
    00:08:48,626this is the red channel, the green channel,
    00:08:51,911and the blue channel.
    00:08:54,486So what I want is to isolate the red channel.
    00:08:58,810So what I'm gonna do is I'm gonna tell,
    00:09:00,794so the red channels take is actually using
    00:09:03,295the existing red channel.
    00:09:05,394I'm gonna tell it to take the green channel
    00:09:07,523from the red channel and the blue channel
    00:09:09,921from the red channel.
    00:09:11,676So now I've got a black and white image
    00:09:14,131and if I switch to the red channel now you'll see
    00:09:16,079that nothing changes because this is the red channel.
    00:09:19,998So now let's duplicate that.
    00:09:22,531And let's call this the green channel.
    00:09:24,246Now we're just gonna do the same thing,
    00:09:25,635we're gonna switch all of these to green.
    00:09:30,149So now this layer is only showing me the green channel.
    00:09:34,518Now we've got the blue channel so we'll do the same thing.
    00:09:40,420Great alright so now these are separated out.
    00:09:42,790Now the obvious problem is that this is black and white now,
    00:09:47,740this is not what we wanted.
    00:09:49,945So when you use shift channels and you switch
    00:09:54,122all three channels to be the same,
    00:09:55,933this is what the result is,
    00:09:57,379it gives you a black and white image.
    00:09:58,884So now what I need to do is turn this black and white image
    00:10:02,605into an image the reflects the amount of red in each pixel.
    00:10:06,926So the easiest way I found to do that
    00:10:09,401is to add another effect.
    00:10:11,904It's in the color correction group and it's called tint
    00:10:14,984and it's really simple.
    00:10:16,406And what tint does is it lets you map
    00:10:21,425all of the black in your layer to one color
    00:10:25,021and then map all of the white to another color.
    00:10:26,914So all of the black should stay black
    00:10:29,726but all of the white, the white is telling After Effects
    00:10:32,814how much red should be in the image.
    00:10:35,332So that white should actually be 100% red.
    00:10:39,924Alright now a quick note.
    00:10:41,493If you'll notice, I'm in 32 bit mode here.
    00:10:44,696And that's because I rendered out open EXRs
    00:10:48,605from Cinema 4D with 32 bits of color information.
    00:10:53,075And so it's better when you have 32 bit renders
    00:10:56,720to work in 32 bit mode in After Effects.
    00:10:59,485Your color corrections will be more accurate,
    00:11:02,071you'll have more latitude to bring up dark areas,
    00:11:05,647and bring down bright areas.
    00:11:08,150And when you switch to 32 bit mode,
    00:11:10,433these RGB values no longer go from zero to 255,
    00:11:15,104they go from zero to one.
    00:11:17,472And so that confuses some people,
    00:11:18,838'cause a lot of people just leave After Effects
    00:11:20,940at the default eight bit, eight bits per channel.
    00:11:25,103And if you're working in 32 bit just know that
    00:11:27,322the RGBs will look a little bit different OK?
    00:11:30,175So if I want 100% red,
    00:11:33,382then all I need to do is set green to zero and blue to zero.
    00:11:36,379Alright and you can see this is what it did.
    00:11:37,868It made my red channel actually red.
    00:11:41,454Alright so now I'm gonna copy the tint effect,
    00:11:44,965turn my green channel back on and paste it,
    00:11:47,199and instead of 100% red,
    00:11:49,719we just do 100% green, just like that.
    00:11:52,552Alright and then you can probably guess
    00:11:53,994what the next step is, blue.
    00:11:59,095Cool alright so we've got our red, green and blue channels
    00:12:02,300and then the last step is you just set all of them
    00:12:04,981to screen mode.
    00:12:07,696And there you go.
    00:12:08,777So now we have,
    00:12:10,828and if I jump in here right,
    00:12:12,753into my precomp you'll see that it matches up
    00:12:16,229pixel perfect now.
    00:12:17,280Here's the original precomp with the render in it.
    00:12:20,862And here's the comp where we've separated out the channels
    00:12:23,561and they look identical.
    00:12:24,957We've separated out red, green and blue,
    00:12:26,932we've put them back together.
    00:12:28,353And now we have the control to move these around.
    00:12:31,530I can take the green layer now and nudge it
    00:12:34,390and you can see that it's actually split
    00:12:36,338and I can move it independently.
    00:12:38,565So in reality chromatic aberration generally works this way.
    00:12:43,961Things that are in the center of the frame
    00:12:46,224are aligned a little bit better than things on the edges.
    00:12:50,661And so if I just sort of move these layers like this,
    00:12:54,668this is generally not how chromatic aberration looks.
    00:12:58,577Although we're trying to make something look neat here.
    00:13:03,344This is one of those techniques that just sort of adds
    00:13:06,525kind of a feel and a look to things.
    00:13:09,345So I generally don't worry too much about how accurate
    00:13:12,033an effect like that is.
    00:13:14,169But if you wanted to try and reproduce
    00:13:19,211chromatic aberration from a camera,
    00:13:21,170then you could use an effect like maybe optics compensation.
    00:13:26,826And if I solo the blue layer to show you,
    00:13:28,899optics compensation basically simulates lens distortion.
    00:13:33,310You can see how this is sort of turning it
    00:13:35,139into almost a fish eye lens or something.
    00:13:37,695So what you could do is reverse the lens distortion
    00:13:41,495and then it distorts it the other way.
    00:13:43,822So you can see that the middle of the image
    00:13:46,379does not move very much but the outside moves a whole bunch.
    00:13:50,698So if I have an effect like that on the blue channel
    00:13:55,281and then I maybe do the same thing on the red channel,
    00:13:58,191but I change the values a little bit,
    00:14:00,735you can see that in the middle here if I zoom in,
    00:14:04,310in the middle everything's lined up pretty well.
    00:14:06,797But then on the edges we start to get some out of syncness
    00:14:11,730here with the channels, cool?
    00:14:14,283So that's one way to do it and of course you can always
    00:14:19,946just sort of nudge your layers around a little bit right.
    00:14:23,710I could just make the blue up and to the left
    00:14:28,184and then make the green down and to the right.
    00:14:30,245And you'll sort of get this out of sync cool looking effect.
    00:14:35,840And it really works well if you have dark areas
    00:14:39,083with white things in them, like this white grid here.
    00:14:44,113Because white is 100% red, blue and green.
    00:14:47,868And so you're gonna really see the effect there.
    00:14:51,409If you have things that are blue
    00:14:55,150then they're not gonna have as much green and red in them
    00:14:57,409so you may not see the chromatic aberration as much there.
    00:15:01,724But you can see this image is kind of a good test image
    00:15:04,820for this effect.
    00:15:06,982So this is how you do it in After Effects.
    00:15:09,047Now what's the issue with this?
    00:15:11,834This works perfectly well, there's no problems.
    00:15:14,692The issue,
    00:15:17,513and I'll show you in a minute how to do this in Nuke,
    00:15:19,847and hopefully you'll see why Nuke might be a better option
    00:15:22,985for this effect.
    00:15:24,602The problem with After Effects is that I can see
    00:15:28,633I have a blue, green and red layer.
    00:15:30,631But I cannot see easily what is happening
    00:15:35,271with the blue, green, and red layer.
    00:15:36,735If I click on one of these layers I can then see,
    00:15:39,432OK there's a shift channels effect,
    00:15:42,212there's a tint effect tinting it blue,
    00:15:44,090and then if I click on the green,
    00:15:44,985I can see that it's tinting it green.
    00:15:46,531But I kind of have to click through these things
    00:15:48,758to see actually what's going on.
    00:15:51,221I also just at a glance have no idea which channels I moved.
    00:15:56,558Because I would have to open up the position and keep
    00:15:59,632this open to actually remember which ones were moved.
    00:16:03,027If I had an optics compensation effect on here
    00:16:05,930like what I showed you,
    00:16:07,229I wouldn't actually know what that effect was doing
    00:16:09,543unless I clicked the layer that that effect was on.
    00:16:13,113The other big thing is let's say I'm looking at this
    00:16:16,055and now I decide I want to color correct it
    00:16:18,110a little differently.
    00:16:19,468Well I can come back into this precomp here
    00:16:22,158and I can color correct it and then come back here
    00:16:24,304and look at the result.
    00:16:26,433Of course there's other ways to work on this comp
    00:16:29,909but see this comp.
    00:16:31,639I could turn the lock on on the viewer,
    00:16:34,178come back here and then change the adjustment layer up
    00:16:37,427and try to get a little bit different of an effect
    00:16:39,751but it's kinda clunkly.
    00:16:41,175I have to go back and forth.
    00:16:42,841And let's say I wanted to adjust the mask on this glow.
    00:16:48,398Well I can't do that if I have the lock on the viewer,
    00:16:52,298I need to turn that off, now I need to come back in here,
    00:16:54,641and adjust the mask and then come back in here
    00:16:57,267and see the result.
    00:16:58,119So this is where After Effects starts to get clunkly.
    00:17:01,883And for those of you that use After Effects a lot,
    00:17:04,684I know, and I know that you know,
    00:17:07,255that there are ways around that clunkyness,
    00:17:09,782and there are ways to composite in After Effects
    00:17:11,887and get the same result you can get in Nuke.
    00:17:15,167I'm just telling you once you get the hang of Nuke,
    00:17:17,673Nuke is just so much more elegant at doing things like this.
    00:17:22,761I would never animate in Nuke,
    00:17:24,598After Effects is much better for that.
    00:17:26,506But when you're compositing,
    00:17:28,544and that's what this is,
    00:17:29,466we're taking 3D renders and we're trying
    00:17:31,035to make them look awesome.
    00:17:33,495Nuke is just better at that.
    00:17:35,847Alright so that's how you do Chromatic Aberration
    00:17:37,602in After Effects.
    00:17:38,435I am now gonna show you how to do it in Nuke.
    00:17:41,170So let's switch over to Nuke.
    00:17:44,177Now I know that Nuke is not as widely used.
    00:17:48,070And so the interface may look strange to you,
    00:17:51,726and it's a node based compositing application
    00:17:54,276which works a lot differently than a layer based
    00:17:56,892compositing application.
    00:17:58,210So I'm gonna try and explain each step to you
    00:18:02,463as though you've never used Nuke before.
    00:18:04,275So I apologize if you have used Nuke,
    00:18:06,055this is gonna be a lot of review.
    00:18:09,167So this is the only thing I have
    00:18:12,963in this Nuke script right now.
    00:18:14,479First of all Nuke projects are called scripts,
    00:18:17,936that's the terminology that's used,
    00:18:19,416this is a Nuke script.
    00:18:21,039You have an After Effects project
    00:18:22,276and you have a Nuke script.
    00:18:24,103So this right here, this is called a read node.
    00:18:27,746And a read node literally just reads in files.
    00:18:31,744And if I double click this node
    00:18:33,352I see some options over here.
    00:18:35,580So it's telling me which file.
    00:18:37,137So these are my render files, CA_Scene.exr
    00:18:42,592And I didn't render this 69,
    00:18:45,356I did it a little bit wider than 69.
    00:18:47,901So the format is 960 by 400.
    00:18:53,965Let's say we want to color correct this a little bit.
    00:18:58,015So in Nuke every effect, every operation you do,
    00:19:02,508even things like moving an image or scaling an image,
    00:19:05,523everything you do takes a node.
    00:19:08,597So that's why it's called a node based application.
    00:19:11,645So if I wanna just brighten this image a little bit,
    00:19:15,835what I would do is I would select this node.
    00:19:19,008And over here you've got a whole bunch of little menus
    00:19:23,494and all of these things that I'm showing you,
    00:19:25,286these are all nodes you can select.
    00:19:28,351And Nuke actually has a really cool way of adding nodes,
    00:19:32,028where you just hit tab and this little search box
    00:19:35,277comes up and you can start typing in
    00:19:36,977the name of the node you want,
    00:19:38,916and it will pop up and then you hit enter and here it is.
    00:19:41,852So a grade node in Nuke,
    00:19:45,672it's basically like a levels effect in After Effects.
    00:19:50,957One other thing to notice is that I have this node down here
    00:19:54,121called the viewer.
    00:19:55,551If I disconnect this I don't see anything.
    00:19:58,607What I'm looking at here, this viewer area,
    00:20:01,291this works the same way After Effects viewer works.
    00:20:03,828Except I can actually see a node icon for that viewer
    00:20:08,370and I can connect that viewer to different things.
    00:20:11,549And there's hot keys to do that.
    00:20:12,882So I can look at my original footage
    00:20:14,938or I can look at the footage after it's gone
    00:20:17,348through the grade node.
    00:20:18,847So let's grade this a little bit.
    00:20:20,530I'm going to adjust the gain.
    00:20:22,927And you'll find also the color correction tools in Nuke,
    00:20:25,999they're a lot more responsive,
    00:20:28,258I mean look how quickly I can mess with these things.
    00:20:31,466And they're a lot more precise too.
    00:20:34,612Gain works on a much narrower range of values.
    00:20:38,799It works on the brightest values.
    00:20:41,684And then you can also adjust the white point
    00:20:43,350and the black point the same as you would in After Effects.
    00:20:47,089And then what I really like about Nuke,
    00:20:49,361is they make it really easy to add color
    00:20:52,477to each of these settings here.
    00:20:54,573So if I wanted let's say the black areas of this image
    00:21:00,241to have a little color to them,
    00:21:01,652that would be this multiply setting here.
    00:21:04,113So I can raise this up and down a little bit.
    00:21:08,170But I can also click on this color wheel.
    00:21:12,095And I can just sort of move it around
    00:21:15,419until I find a color.
    00:21:16,712So if I wanted it to feel kind of really synthetic,
    00:21:20,699I could maybe have it be somewhere
    00:21:22,506in this greenish blue area.
    00:21:25,537Maybe that's too much.
    00:21:27,342And then I could do a different color,
    00:21:29,685maybe a complimentary color right on the highlights.
    00:21:34,238So if this is the color I was using it would be somewhere
    00:21:36,457over here somewhere in this reddish orange area.
    00:21:41,866And then I can just color correct things up and down
    00:21:45,632and try to find the look that I want.
    00:21:50,979And so this is starting to feel a little bit washed out,
    00:21:52,797so I'm gonna leave this where it was.
    00:21:58,724Come back here and just add a little bit
    00:22:00,399of a greenish blue color to the gain.
    00:22:03,934OK so let's pretend that's what we want.
    00:22:06,202Alright so now I can very quickly see the original
    00:22:08,550and the result.
    00:22:13,264So what was the next thing we did in After Effects?
    00:22:15,075We added a little bit of a glow to this.
    00:22:19,988I've said before that the glow effect that's built
    00:22:22,260into After Effects is terrible.
    00:22:23,888The glow effect that's built into Nuke
    00:22:25,578is actually pretty great.
    00:22:27,041So if I run, right and you can see why you use these nodes,
    00:22:33,592it makes a little flow chart.
    00:22:35,103You have your image, it gets graded,
    00:22:37,280and then it goes through a glow node.
    00:22:39,898Now the glow node has a bunch of settings.
    00:22:43,515And I can up the tolerance so that it's not actually
    00:22:46,944making everything glow, only the brightest parts.
    00:22:50,926I can adjust the brightness of the glow.
    00:22:53,803I can also adjust the saturation of the glow which is cool,
    00:22:56,599because this looks a little too colorful,
    00:22:59,313and then I can bring it all the way down
    00:23:00,716and just leave a little bit of that color.
    00:23:02,962It also gives me the option for the effect only
    00:23:06,620so I only see the glow.
    00:23:08,754And this is where Nuke really shows its power.
    00:23:14,030So what I'm gonna do is I'm gonna have,
    00:23:19,958and I wanna step through this 'cause I wanna make sure
    00:23:22,070everyone understands what's happening here.
    00:23:23,835I have my image, it's going into a grade node
    00:23:27,142which color corrects a little bit.
    00:23:28,953It's then going into a glow node.
    00:23:31,815And what I'm gonna do is I'm gonna add a node called merge.
    00:23:36,048And this is one of the things that people who are new
    00:23:39,170to Nuke and who use After Effects,
    00:23:40,755initially you'll find it silly.
    00:23:43,030In After Effects if you have two layers
    00:23:44,867and you put them both in your timeline
    00:23:46,809and you put one layer on top of the other one,
    00:23:48,988the one that's on top is composited on top
    00:23:51,343of the one that's underneath it.
    00:23:52,825In Nuke nothing happens automatically.
    00:23:56,026So if I have this image, this color corrected image,
    00:24:00,416and then I have this glow layer,
    00:24:02,586and I want this glow layer on top of this image,
    00:24:05,601I have to tell it to do that with a node.
    00:24:08,344So the merge node's how you do that.
    00:24:09,965So the way the merge node works is you have two inputs,
    00:24:13,230you have A and you have B.
    00:24:15,245And you always merge A over B.
    00:24:18,455So I wanna merge this glow over this grade.
    00:24:23,965And so now,
    00:24:28,478if I look through this you'll see that now my glow
    00:24:30,266is composited on top of my image.
    00:24:33,352And I can step through my comp and see every step
    00:24:35,773that's happening.
    00:24:36,606So here's the original shot,
    00:24:38,286here's the graded one,
    00:24:39,936here's the glow and then here's the glow
    00:24:42,684merged on top of the grade.
    00:24:44,245Now why did I do it this way?
    00:24:46,415Why didn't I just have the glow node right here?
    00:24:49,747Well the reason I did it this way is because now I have
    00:24:52,297that glow separated out.
    00:24:54,421And so what I could do is I could do different things
    00:24:57,694to that glow.
    00:24:59,248I could apply more effects to it,
    00:25:01,637or I could add a roto node.
    00:25:06,274And I could come in here and change some settings
    00:25:09,176on the roto node and I'm not gonna get too deep into it.
    00:25:11,996But basically a roto node is like a mask in After Effects.
    00:25:17,427So I can change some settings on it
    00:25:21,835and basically what I wanna do is get rid of the glow
    00:25:26,419on certain areas.
    00:25:27,903I only want that glow to show up on a specific part
    00:25:32,115of the image.
    00:25:33,235And you can see that the mask tool in Nuke
    00:25:37,951also is really powerful.
    00:25:40,826Now you can do this now,
    00:25:42,226you actually can feather your mask on a per vertex basis,
    00:25:47,167that's what this is called.
    00:25:49,293Nuke has always been able to do that.
    00:25:51,989I hope you're noticing how responsive this is too,
    00:25:54,747there is no lag.
    00:25:56,813Nuke is designed to work very quickly.
    00:25:59,526In After Effects when your comps get too complicated,
    00:26:02,266even moving a mask point like this,
    00:26:04,005it starts to slow down.
    00:26:06,035And in Nuke that doesn't happen.
    00:26:07,839So now let's look at what's happening.
    00:26:10,423We've got our original footage.
    00:26:12,896Let me turn this roto node off.
    00:26:15,560It gets graded.
    00:26:17,800Then this graded version goes into a glow rode,
    00:26:21,070it goes into the roto node.
    00:26:22,656And here's the difference.
    00:26:24,346Glow node, the roto node knocks some of this away.
    00:26:27,792And then that gets merged over.
    00:26:30,244So if I turn the roto node on and off,
    00:26:32,083and this is another great thing about Nuke,
    00:26:34,025I can select a node and tap the D key,
    00:26:36,951you see how it x's it out.
    00:26:39,860So now I can really quickly see with, without that fast.
    00:26:44,255So this is with,
    00:26:45,894and I've masked out some of this stuff here
    00:26:48,381so it's not glowing down here,
    00:26:49,616it's only kind of glowing in this area
    00:26:51,184which is what I wanted.
    00:26:52,704Alright now let's talk about chromatic aberration.
    00:26:55,638So in Nuke,
    00:26:57,449Nuke does not hide the channels from you
    00:26:59,587as much as After Effects.
    00:27:01,554And if you want proof,
    00:27:03,902just look, I double click this merge node
    00:27:05,796and look I've got a list of all the channels right here.
    00:27:09,274Red, green, blue, alpha.
    00:27:12,763And so in Nuke you're always having to think about
    00:27:17,056do I have the channels set up correctly?
    00:27:20,413There's a lot more manual work involved in Nuke
    00:27:23,014to add an alpha channel to a red, green or blue channel
    00:27:26,931and then have that alpha channel applied correctly.
    00:27:30,043And a lot of times in Nuke you're doing operations
    00:27:33,034to individual channels.
    00:27:35,472So if we look at this merge note,
    00:27:38,715this is the result of our composite so far,
    00:27:41,427and I hold my mouse over the viewer and I hit R
    00:27:44,099it shows me the red channel.
    00:27:46,024G is the green channel, B is the blue channel.
    00:27:49,689So this part works kind of the same as After Effects.
    00:27:53,257So the first thing I wanna do is split those channels up.
    00:27:56,849So if you wanna split channels out
    00:27:59,745from part of your composite
    00:28:02,089you use a node called the shuffle node.
    00:28:05,521So here's my shuffle node.
    00:28:08,738And I'm gonna connect this to my merge node
    00:28:11,645and I'm gonna double click this and I'm just gonna
    00:28:13,298call this Shuffle_R so I can keep track.
    00:28:18,214And in the shuffle node settings you'll see
    00:28:19,888you've got this interesting little grid here.
    00:28:24,438And basically what this is saying is,
    00:28:26,146these are the channels that are coming in,
    00:28:29,429in from one RGBA.
    00:28:32,558And using these check boxes I can decide which channels
    00:28:35,687to keep and which channels to get rid of.
    00:28:39,275So I want the red channel,
    00:28:41,689I don't want green or blue or alpha.
    00:28:43,543I actually want all of these to be red.
    00:28:46,714So I'm just gonna say all of these are red.
    00:28:49,112And now if I look through this,
    00:28:50,900again I've got a black and white image.
    00:28:53,499So this is the red channel.
    00:28:55,208Now I can copy and paste this node
    00:28:57,773and connect this to the merge node.
    00:29:00,017What's cool in Nuke is that you can have one node
    00:29:03,229connected to a bunch of different nodes.
    00:29:05,949In After Effects we would've had to take all of this
    00:29:08,581and precompose it and basically hide it from ourselves.
    00:29:12,309Then we could split it out into different channels.
    00:29:14,935In Nuke this all doesn't change at all
    00:29:18,431and now you literally get this visual representation
    00:29:21,848of what's happening to your image.
    00:29:23,371So I'm gonna switch this node to green.
    00:29:28,034I'm gonna paste it again.
    00:29:31,064Let's rename this Shuffle_B.
    00:29:33,985And then we're gonna switch all of the channels to blue.
    00:29:38,866So we've got red, green and blue.
    00:29:42,788And now I want to recombine them.
    00:29:46,864Basically in Nuke if you put a black and white image
    00:29:52,773in the red channel,
    00:29:54,869black and white image in the green channel,
    00:29:56,224and a black and white image in the blue channel,
    00:29:58,297it's gonna automatically turn them red, green and blue,
    00:30:01,766you don't have to do the trick that we did in After Effects
    00:30:05,264of tinting this black and white image and then screening
    00:30:07,999it back over itself.
    00:30:10,384So it's nice like that, Nuke just kinda saves you
    00:30:12,672a little bit of work because it's designed to work
    00:30:16,073with these channels.
    00:30:18,013So what I'm gonna do is I'm gonna use another node
    00:30:19,899called a shuffle copy.
    00:30:22,459And I'm gonna first start with the red and the green.
    00:30:28,394You can see that I'm kinda anal retentive
    00:30:32,171and I like to have all of my nodes kinda lined up
    00:30:35,634and I like to try and keep the lines straight.
    00:30:37,382It makes it a lot easier for me to visualize
    00:30:40,453what's going on.
    00:30:42,304So sometimes if I'm moving a node around
    00:30:45,094I'll hold command.
    00:30:46,549And when you hold command you see these dots appear.
    00:30:49,263And you can add little elbow joints to your nodes.
    00:30:53,587So if you're really kind of a geek
    00:30:55,610and you like organizing things,
    00:30:57,081Nuke is for you because you can create these beautiful
    00:31:00,085little trees.
    00:31:03,112Once you've used Nuke a little bit you'll look at this
    00:31:05,054and you'll be able to see exactly what's happening.
    00:31:07,749This is the biggest advantage of Nuke over After Effects
    00:31:09,849is you can see every single thing that's happening
    00:31:12,284in your comp all at the same time.
    00:31:16,510It's very clear to me that I have footage,
    00:31:19,046it's being effected and then I'm splitting the result
    00:31:21,763of that in two directions.
    00:31:23,182One direction goes this way,
    00:31:25,136and I can say oh that's going into a glow node.
    00:31:27,598And then that glow node is being merged over
    00:31:30,165the original result and then that result's being split
    00:31:33,147into three things and you can go in,
    00:31:35,026and since I've labeled these it's clear.
    00:31:37,316Oh I'm making a red channel, a green channel,
    00:31:39,650and a blue channel.
    00:31:40,714So there's no jumping back and forth between pre comps.
    00:31:43,874So in this shuffle copy node,
    00:31:46,385what I wanna do is keep the red channel
    00:31:52,718from R because if you look closely you'll see
    00:31:57,090my shuffle copy has two inputs.
    00:32:00,008One is labeled one, one is labeled two.
    00:32:03,226And so what I'm telling Nuke is from input one,
    00:32:06,306which is the red channel,
    00:32:08,289keep the red channel.
    00:32:09,757From input two, which is the green channel,
    00:32:12,129keep the green channel.
    00:32:13,504And we don't care about the blue channel yet.
    00:32:16,691So it doesn't matter what's checked there,
    00:32:18,277in fact I could turn that off.
    00:32:20,008Alright so we're keeping the red channel from one,
    00:32:21,834the green channel from two.
    00:32:23,849And now I need another shuffle copy.
    00:32:28,134And I'm gonna connect this up to the blue channel.
    00:32:32,995So now input one we wanna keep the blue channel.
    00:32:37,705And input two we wanna keep the red and the green.
    00:32:44,751So now if I look through this shuffle copy node,
    00:32:47,444this final one,
    00:32:49,761you'll see that I've got my image.
    00:32:51,825If I look through this merge node way up here,
    00:32:54,464this is where we started.
    00:32:56,473And then we did a bunch of little operations here
    00:32:59,245to break the image up into channels and then
    00:33:01,371put them back together.
    00:33:02,558And at the end of that we're left with the exact same image.
    00:33:06,266Now here's what's great is that I now have these
    00:33:09,441little tree trunks here with no nodes on them
    00:33:12,269for red, green and blue.
    00:33:14,239And I could very easily add a node,
    00:33:16,693let's say a transform node.
    00:33:18,384So this is one of the things when I started using Nuke
    00:33:21,139that I thought was silly.
    00:33:22,382If you want to move an image or scale it or rotate it
    00:33:28,045or do anything you actually have to add a node to do that,
    00:33:30,758called transform.
    00:33:32,143And it seemed like a lot of extra work.
    00:33:35,172In After Effects you would just click the layer and move it,
    00:33:38,783so why do you have to use a node in Nuke?
    00:33:40,701Well if you use a node there's a lot
    00:33:42,505of cool things you can do,
    00:33:44,902and I'll show you a couple of those in a minute.
    00:33:47,787But let's just add this transform node,
    00:33:49,526double click it and over here you can see all your settings
    00:33:52,547for the transform node.
    00:33:54,158And I can click and drag this around just like this.
    00:33:58,854That works just the same as After Effects.
    00:34:02,291But I'm just gonna nudge this a few pixels on X.
    00:34:06,829Few pixels on Y.
    00:34:08,625And you can see we're getting that same chromatic aberration
    00:34:11,380effect that we had in After Effects.
    00:34:13,930So now I can copy this.
    00:34:16,066So I've copied and pasted the transform node.
    00:34:18,987And I can adjust this one a little bit differently.
    00:34:22,335So the red channel I've moved in one direction,
    00:34:25,878the green channel I've moved
    00:34:27,055in a slightly different direction.
    00:34:29,177Maybe the blue channel we can add another transform node,
    00:34:35,392and we could just scale it a little bit.
    00:34:39,983One of the things I really like about Nuke
    00:34:41,318is that you can just use the arrow keys really quickly
    00:34:47,381to give very precise with what you're doing.
    00:34:54,057If I move the cursor to the left
    00:34:56,247then I'm working on the tenth digit here.
    00:35:01,350And then if I hit right arrow,
    00:35:04,019and now the cursor's move a little bit,
    00:35:05,481and now I'm working on the hundreds digits.
    00:35:07,103So you can really precise.
    00:35:08,460And I can even hit right again
    00:35:09,590and now I'm working in thousandths.
    00:35:11,175So you can very quickly dial in exactly
    00:35:14,019the value you want for this.
    00:35:16,965So now we've got chromatic aberration
    00:35:18,896and we're good to go right.
    00:35:20,919And look at this, this is so much more clear,
    00:35:24,579at least to me, I hope it is to you too.
    00:35:26,796It's very clear what's going on here.
    00:35:30,866You've got your merge node and it's being split into
    00:35:34,738three channels and you literally get this visual
    00:35:36,629representation of what's happening.
    00:35:39,045And then they get put back together.
    00:35:40,652And then once they've been put back together,
    00:35:43,747then you can do even more stuff.
    00:35:45,349So you could add a lens distortion node.
    00:35:48,911And this is sorta like optics compensation
    00:35:51,122in After Effects.
    00:35:52,642And you can get some really nice
    00:35:55,347lens distortion out of this.
    00:35:57,591And then maybe we wanna add some film grain to it.
    00:36:00,457So we would add a grain node.
    00:36:05,220There's some presets here that Nuke comes with.
    00:36:07,348You can also really dial in the intensity
    00:36:10,438of the red, green and blue channels.
    00:36:13,656And there you go and so now here's your composite.
    00:36:18,598If you look at it, and let me just make this composite
    00:36:21,173full screen for a minute.
    00:36:23,841If you look at this you can see every single step
    00:36:26,897of your composite in one view,
    00:36:30,270and once you've used Nuke a little bit
    00:36:32,748and you sort of start to recognize,
    00:36:34,959there's kind of a color scheme that Nuke uses
    00:36:38,070for these nodes and you'll start to recognize
    00:36:40,100OK a blue node is a merge node,
    00:36:42,197a green node is a roto node,
    00:36:43,651and this color is for shuffle nodes or shuffle copy nodes.
    00:36:48,490And so very quickly even if I didn't know
    00:36:50,864what the result of this was,
    00:36:52,618I would be able to tell you,
    00:36:55,495OK let's see you've got a render and then there's a glow
    00:36:59,149applied to it,
    00:37:00,971that glow is masked out a little bit.
    00:37:02,956We're clearly splitting the image into red, green and blue
    00:37:05,338channels here.
    00:37:06,345There's transform nodes so I know that you've moved them.
    00:37:09,100And then you've put them back together.
    00:37:11,121There's lens distortion and grain
    00:37:12,237and you can see all of that right here.
    00:37:15,258You don't have to click on layers
    00:37:16,683and know what effects are on them
    00:37:18,174or go into precomps or any of that.
    00:37:21,096And there you go and you also saw how responsive this is.
    00:37:25,898If I say you know what,
    00:37:27,724I wanna step through every step of this composite
    00:37:30,821that I've done,
    00:37:31,807you can do that and in After Effects
    00:37:33,359it would be very tedious to do that.
    00:37:35,851Here's my render, graded.
    00:37:38,875Here's the glow that we set up and then masked out,
    00:37:41,242and then merged back on top of the image.
    00:37:43,851Here's the red, green and blue channels.
    00:37:46,449And we've transformed each of those.
    00:37:49,556And then put them back together to get chromatic aberration,
    00:37:53,024added lens distortion and grain.
    00:37:55,599And it's that quick.
    00:37:56,968And you can see how quickly this renders too.
    00:37:59,460I'm stepping through this and it's rendering every frame
    00:38:01,803and it is literally going that fast.
    00:38:04,550You can almost scrub through it.
    00:38:07,005So for stuff like this, use Nuke,
    00:38:09,455it's just a lot better.
    00:38:10,886The last thing I wanna mention about this
    00:38:14,033which is one of the things that I'm starting
    00:38:15,627to do more and more of in Nuke
    00:38:17,179and I think it's really awesome and really powerful.
    00:38:20,593So let me hop back into After Effects for one second.
    00:38:23,828Let's say that I really love
    00:38:26,314this chromatic aberration effect,
    00:38:28,190I think it's the greatest thing I've ever done,
    00:38:30,058and I wanna save it as a preset.
    00:38:33,271So how would I do that in After Effects?
    00:38:35,999Well you really can't.
    00:38:37,366What you could do is save this project as a setup,
    00:38:42,340and basically you'd have to load that project
    00:38:44,557into whatever new project you're doing,
    00:38:48,052go into one of these precomps
    00:38:49,761and inside of the precomp,
    00:38:51,491replace that with whatever image you want,
    00:38:55,171and then come back out to this comp
    00:38:57,237and this is where the chromatic aberration happens.
    00:39:00,105But there's no way to put a render in
    00:39:02,714and apply chromatic aberration effect
    00:39:05,078with what's built in to After Effects.
    00:39:08,250Of course there's third party effects and scripts
    00:39:10,550and you can go buy things but to be honest,
    00:39:14,141if you're buying an effect to create chromatic aberration
    00:39:16,926for yourself then you're throwing your money away
    00:39:19,666because I just showed you how to do it for free
    00:39:22,624with what's built into After Effects,
    00:39:24,827and it's not hard at all.
    00:39:26,705So you really should not pay someone to do this for you.
    00:39:29,548Now let's look at Nuke on the other hand.
    00:39:31,882With Nuke, I'm gonna change one little thing here.
    00:39:36,184So I've got this merge node and it's being split
    00:39:39,660into three different pieces here.
    00:39:42,090What I'm gonna do is I'm gonna add an elbow joint
    00:39:44,360to one of these and I'm gonna connect these other two
    00:39:47,741shuffles to the elbow joint.
    00:39:49,606And the reason I'm doing this,
    00:39:52,526so what I have now is basically,
    00:39:56,233this section here is a self contained set of nodes
    00:40:01,791that actually create chromatic aberration for me.
    00:40:04,791All of this stuff that happens before,
    00:40:06,820this is just color correction and some glow.
    00:40:09,202And then at the end, this is lens distortion,
    00:40:12,357and some film grain.
    00:40:14,623But this is chromatic aberration.
    00:40:17,526And what's amazing about Nuke is that I could right click
    00:40:20,937this whole set up,
    00:40:27,384I can go into the menu here and I can actually
    00:40:30,011group these nodes,
    00:40:33,146and say collapse to group.
    00:40:36,919And actually I must've not had them all selected,
    00:40:39,089so let me select them one more time.
    00:40:41,624I'm gonna try going up to edit, node, group,
    00:40:44,603collapse to group.
    00:40:45,768Here we go.
    00:40:47,001So now what just happened?
    00:40:48,806All of those nodes that created chromatic aberration
    00:40:52,287are now inside of one node.
    00:40:55,993And if I click on this group here I can rename it,
    00:41:01,176I could call this chromatic aberration.
    00:41:08,644I'm not sure I spelt that right either,
    00:41:09,898someone spell check me.
    00:41:11,987And then I can click on this S and actually bring up
    00:41:16,583a little node tree for just that group.
    00:41:18,721And let's look at this,
    00:41:20,520you've got input one.
    00:41:23,021Input one is basically whatever is being fed into this group
    00:41:27,135comes in here,
    00:41:29,321gets split up into red, green, blue,
    00:41:31,052gets transformed a little bit.
    00:41:32,475And then that gets put back together
    00:41:34,328and sent to this output node.
    00:41:37,148And now if we switch back to our main node graph,
    00:41:40,854you can see whatever comes into this group,
    00:41:43,470comes out split up with chromatic aberration.
    00:41:47,916So I can actually select this node now,
    00:41:50,947and I could copy and paste it
    00:41:52,857and put anything I want into it.
    00:41:54,864If I make like this little checkerboard pattern
    00:41:57,636and I run this into the node and look through the node,
    00:42:00,399I've got chromatic aberration now.
    00:42:02,374And I have basically built myself an effect
    00:42:05,351in like two minutes.
    00:42:06,965And what you can then do is you can select this node,
    00:42:11,410and keep in mind this node is just a group of nodes,
    00:42:15,059you can select it, edit, node, group,
    00:42:18,105and you can actually turn this into what's called a gizmo.
    00:42:24,397A gizmo is basically the Nuke version of an effect,
    00:42:30,728or maybe it's more like the Nuke version of a script.
    00:42:34,824Nuke users can make groups of nodes
    00:42:37,782and you can get really really complicated with it.
    00:42:40,171And then group them together and you can even got as far
    00:42:43,118as creating some controls on them,
    00:42:45,047using some Nuke expressions.
    00:42:47,518But you can actually turn these into something
    00:42:54,351that you can share.
    00:42:56,214You can upload these,
    00:42:57,936you can send them to other people to use,
    00:43:00,861and you've got this great effect in one little node
    00:43:04,618that in After Effects would be impossible to turn into
    00:43:07,584a one click kind of effect.
    00:43:10,398You have to break it up into precomps and do a lot of work.
    00:43:14,065So that is one of the coolest things about Nuke.
    00:43:17,423You can have really complex kinda set ups
    00:43:20,785that then you can reuse really easily.
    00:43:23,753And at the same time look at this comp now,
    00:43:26,143let's take a look at this comp.
    00:43:27,622Now that I've grouped my chromatic aberration into one node,
    00:43:31,303look at how simple this is.
    00:43:33,546My After Effects comp,
    00:43:35,585I had two precomps and I had three copies of a comp,
    00:43:39,536and I had effects on each one,
    00:43:41,649and some of them were moved and some of them weren't.
    00:43:43,647This is just so crystal clear.
    00:43:47,962There's less than 10 nodes here.
    00:43:49,559It's just so simple.
    00:43:52,078And I'm getting the exact same effect I got in After Effects
    00:43:55,760and it's rendering significantly faster.
    00:44:01,538I hope I didn't go through this too quickly
    00:44:03,155because I know Nuke is brand new to a lot of you.
    00:44:06,373This was not a beginners Nuke tutorial,
    00:44:09,722this was sort of in the middle somewhere.
    00:44:11,558But hopefully even if you've never used Nuke
    00:44:13,607and you didn't fully understand every step,
    00:44:15,736you were able to follow enough to see the power of Nuke
    00:44:18,855and why Nuke is designed the way it's designed
    00:44:22,051and why that's useful for compositing.
    00:44:26,756I hope this was interesting to you guys
    00:44:29,501because I think that learning Nuke is one of the best ways
    00:44:33,567to expand your capabilities
    00:44:36,433and expand your employability and your marketability,
    00:44:40,467and add a whole new set of tools to your arsenal
    00:44:45,285and be able to get more clients, make some more money,
    00:44:49,374do more work and you know, pay the bills,
    00:44:53,597provide for your family, buy a house, buy a car,
    00:44:55,647do whatever you gotta do.
    00:44:57,872Once again, Joey from School of Motion,
    00:44:59,313thank you guys and I'll see you later.
    00:45:01,856Thank you for watching.
    00:45:02,824I hope you learned something new about compositing
    00:45:04,823your CG renders in After Effects and Nuke.
    00:45:07,359They're both very powerful programs
    00:45:09,406and this lesson should have also given you a good idea
    00:45:11,756of what the differences are between the two programs
    00:45:14,454for compositing.
    00:45:15,874If you have any questions or thoughts, let us know.
    00:45:18,208And we'd love to hear from you if you use this technique
    00:45:20,774on a project.
    00:45:21,768So give us a shout on Twitter @schoolofmotion
    00:45:24,303and show us your work.
    00:45:25,975Thanks again and I'll see you next time.