Making Giants Part 8: The Composite

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Making Giants Part 8: The Composite

Now that we've got over a thousand rendered frames... what the heck do we do with 'em? We can't just throw them into the cut and call it a day can we?

Nearly every 3D render you do will go through a compositing step to get that final polish.

We rendered out all kinds of passes.  Shadow, Ambient Occlusion, Reflection, Specular... and now we're going to take those passes into Nuke to beautify the crap out of our images.

Nuke is amazing at stuff like this and now you can get a FREE copy of Nuke Non-Commercial to play around with!  If you're a School of Motion VIP member, you can download the EXR sequences from Giants to play around with or follow along.

At the end of this episode, you'll even get to see a 95% picture-locked version of the film. Holy crap, we've come a long way.

Every episode of Making Giants comes with the most up-to-date projects and assets so you can follow along or break apart anything that isn't covered in the videos.

Note:  The EXR sequences are MASSIVE.  Once you download this episode's package of files, you can then open a text file with links to download individual shots' EXR sequences separately.  There are nearly 100 gigs of files in total, so this time I'll let you download just what you want.
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.

Download Project Files

Rebus Farm: Render Farm Service - Just try it...

Nuke Non-Commercial - Doooooo it.  Nuke is game-changer when it comes to compositing.  You have an unbelievable amount of control vs. After Effects.

    00:00:03,147(upbeat music)
    00:00:11,936- [Instructor] Holy crap, we have rendered frames,
    00:00:15,272and a lot of them actually.
    00:00:17,336So I rendered shots one through five on RebusFarm
    00:00:21,005and it's pretty mind-blowing how fast that was done.
    00:00:23,762So I submitted those five shots, about 570 frames total,
    00:00:28,716average render time of about five minutes per frame,
    00:00:31,946that's about two days of rendering
    00:00:34,506and it was done in about an hour.
    00:00:36,729And the cost?
    00:00:38,178About $56,
    00:00:40,857so yeah, a little bit cheaper
    00:00:42,653than buying my own render farm.
    00:00:45,031Now the last three shots,
    00:00:46,256I went ahead and rendered locally
    00:00:47,726because I had X-Particle caches
    00:00:50,159that were one and a half gigs each,
    00:00:52,154and I was just more comfortable letting those crank
    00:00:54,298while I went to NAB in Las Vegas.
    00:00:57,348So those three shots, about 530 frames total,
    00:01:00,680rendered on my iMac in just over three days,
    00:01:04,660big difference.
    00:01:06,342So now, we need to take those frames and make 'em pretty,
    00:01:09,378and to do that,
    00:01:10,211we're gonna start in my favorite compositing app, NUKE.
    00:01:13,835Now, I wanna also point out that The Foundry
    00:01:15,813recently released a free, non-commercial version of NUKE,
    00:01:19,746which opens the app up to a whole new generation of artists
    00:01:22,439and it was a brilliant idea on their part.
    00:01:24,781So, if you wanna follow along,
    00:01:26,766go to The Foundry, download it,
    00:01:28,713and for now, we're gonna hop into NUKE and comp a shot.
    00:01:33,285So I've imported my Multi-Pass EXR file here
    00:01:36,982and you know, if we kinda let it
    00:01:39,275RAM preview a little bit inside of NUKE,
    00:01:42,336you'll be able to see some of the movements, right,
    00:01:44,266and you can see the vines kind of creeping up
    00:01:46,524the side of the building, and it's gonna look really nice,
    00:01:49,425but visually, there's a lot of things
    00:01:52,128that aren't working right now.
    00:01:53,716The shadows, the ambient occlusion
    00:01:56,117is just way too heavy here
    00:01:57,953and it's getting just too dark,
    00:01:59,750you can't really see what's going on
    00:02:01,717and you're kinda losing a lot of the detail in the vines.
    00:02:05,256Overall, the shot feels a little dark,
    00:02:07,276it's not quite saturated enough,
    00:02:08,428so there's a lot of things that we need to fix
    00:02:10,757in compositing and luckily,
    00:02:12,868we set up all those passes, right?
    00:02:14,676So if I look up here in this Channels menu,
    00:02:18,888I can actually see all of the different passes
    00:02:21,456that I rendered out,
    00:02:23,348and you know, there's a lot of them (laughs),
    00:02:25,947and all of them can be useful in different ways.
    00:02:28,479Here's the Ambient Occlusion Pass for example,
    00:02:31,405you know, here's the Global Illumination Pass.
    00:02:33,314So this is one of the things I love about NUKE
    00:02:35,433is that this little node, right,
    00:02:37,659this is just an image sequence,
    00:02:40,543it contains all of this information.
    00:02:42,554Now over here, I've brought in some of the reference images
    00:02:46,103that I have on Pinterest,
    00:02:47,904and then these are some stills
    00:02:50,086from the Sherwin-Williams campaign that Buck did.
    00:02:54,826And this is one of my favorite-looking spots of all time,
    00:02:58,988I think it's just beautiful,
    00:03:01,175it's composited beautifully and so,
    00:03:03,004a lot of times when I'm doing compositing
    00:03:04,795on something that kind of looks 3D, you know, like this,
    00:03:09,059I like to pull in frames from spots that
    00:03:11,644I think have a similar art direction, a similar vibe,
    00:03:15,286and that way I can just kind of
    00:03:16,591go back and forth between them
    00:03:19,435and try to figure out, you know, okay,
    00:03:21,448why doesn't mine feel as good as this?
    00:03:23,322Well, obviously, this one's a lot brighter,
    00:03:25,144there's more contrast and it gives me hints as to,
    00:03:27,927you know, where I need to push and pull colors
    00:03:30,369and brightness values and things like that.
    00:03:32,536All right, so here's my reference,
    00:03:33,911so the first thing that we need to do
    00:03:36,477is split out all of these different channels
    00:03:39,502into their own little nodes
    00:03:40,615and that way we can mix them together
    00:03:42,876and start to do some of the complex,
    00:03:44,603interesting things that NUKE lets you do.
    00:03:46,514So the way you do that in NUKE
    00:03:47,647is with a shuffle node, all right,
    00:03:50,053just you know, silly name for something that basically
    00:03:52,935splits out different channels, all right?
    00:03:56,022And I'm gonna try and not make this too much
    00:03:57,929of a how to use NUKE tutorial,
    00:03:59,779it's more of a compositing tutorial,
    00:04:02,002but you take your shuffle node,
    00:04:04,139I like to turn on the postage stamp option
    00:04:06,295which then gives you like a little thumbnail,
    00:04:08,739and then, in the options for this node,
    00:04:11,452all I need to do is set this to whatever channel I want so,
    00:04:15,058let's start with Diffuse,
    00:04:18,753and then I'm gonna rename this Diffuse, all right?
    00:04:22,330So now, this node is just the Diffuse Pass
    00:04:25,751from Cinema 4D, right,
    00:04:27,784so I could then just copy this
    00:04:30,193and I can add another little dot here
    00:04:32,085and these little dots,
    00:04:33,414they're just kind of a nice way of keeping your,
    00:04:36,439your NUKE scripts organized,
    00:04:38,422so there's not like noodles,
    00:04:39,866these are called noodles by the way,
    00:04:41,671so there's not noodles going everywhere every which way.
    00:04:44,149So after Diffuse, maybe we'll grab the Specular,
    00:04:47,056so here's our Specular Pass.
    00:04:49,095All right, and you can imagine, we can color-correct this,
    00:04:51,898we could make the building really shiny,
    00:04:53,711we could make the ground less shiny,
    00:04:55,022we have all these options now,
    00:04:56,467and I just need to rename this Specular, okay?
    00:04:59,947So what I'm gonna do now is I'm gonna pause this
    00:05:02,078and then I'm gonna go ahead,
    00:05:03,078I'm gonna set up all the shuffle nodes
    00:05:04,792and get all of my passes set up.
    00:05:07,008So now we've got all of the passes separated out
    00:05:10,162and what's cool is, you know,
    00:05:11,344you can kind of see, just by the thumbnails,
    00:05:13,467what each pass kind of is, right so,
    00:05:15,770even at this tiny little resolution,
    00:05:17,592you can tell this is the object buffer for the plant,
    00:05:20,117this is for the building, these are the vines.
    00:05:22,791So now you've got like this little deck of cards
    00:05:25,278and you can kinda mix and match and shuffle stuff, right?
    00:05:27,322So here's the original render, right,
    00:05:29,734right out of Cinema 4D,
    00:05:31,450and what I'm going to do is now
    00:05:34,133use all of these passes to rebuild something
    00:05:37,051pretty close to this and you'll never get it exact
    00:05:40,049but that's the whole point, you don't want it exact,
    00:05:42,652you wanna push it, you wanna make it even better.
    00:05:44,586So what I usually do is I start by putting
    00:05:48,289the Diffuse Pass on the bottom,
    00:05:50,471and then I start adding, kind of in this order,
    00:05:52,900Specular, then Reflection,
    00:05:54,556then I'll do,
    00:05:55,813you know, I might actually need to switch these,
    00:05:57,490this is the Ambient Light Pass,
    00:06:00,488which is sort of like the luminance,
    00:06:03,050you know, of these layers,
    00:06:04,890so I can brighten specific things if I want to,
    00:06:07,799and then I've got my GI Pass,
    00:06:10,127which is, you know, the effect of the light
    00:06:11,823kind of bouncing around and bouncing off of all the objects
    00:06:14,467and mixing together beautifully.
    00:06:16,417So what I'm gonna do,
    00:06:17,845I like to put my shadow passes kind of together
    00:06:22,376because you treat those a little bit differently so,
    00:06:24,863let me get these kind of lined up like this,
    00:06:26,718here we go, all right.
    00:06:28,118So we're gonna start with Diffuse
    00:06:29,833and I'm gonna use a merge node, right,
    00:06:32,432and a merge node in NUKE basically,
    00:06:35,433it's like putting one layer over another in After Effects,
    00:06:38,203it's pretty much how it works,
    00:06:40,249and we're just gonna set it up like this,
    00:06:42,507and so,
    00:06:44,085A, the A input, goes over B,
    00:06:46,403all right, in NUKE, that's how it works,
    00:06:47,514A over B, and if you look at this now,
    00:06:49,927you'll see that now you get those specular highlights,
    00:06:53,146pretty much added right on top.
    00:06:54,323I'm not gonna go too deep into the way
    00:06:56,126compositing works in NUKE, but if you're curious,
    00:06:59,025there's a tutorial on School of Motion
    00:07:00,777called Premultiplication Demystified,
    00:07:02,889which gets into the way NUKE actually composites,
    00:07:06,033it's a little bit different than After Effects,
    00:07:09,353I guess technically, it's kinda the same,
    00:07:11,016but you have to do some things differently
    00:07:14,195and I don't wanna geek out too much and bore everybody.
    00:07:18,018All right, so now we've got diffuse
    00:07:19,509and we've got specular, all right?
    00:07:20,924So let's just start there
    00:07:22,697and
    00:07:23,713you know, now that I've got the specular separately,
    00:07:27,432separate from the diffuse,
    00:07:28,730you can do things like add a grade node,
    00:07:30,802which is essentially like the levels node in After Effects,
    00:07:34,510right, and so I could grab, let's say,
    00:07:37,103the gain and push that and the gain is sort of
    00:07:39,101the brightest parts of the image,
    00:07:41,304and push that to get even more
    00:07:42,941of a specular kind of feel, right?
    00:07:45,171And so, you can really easily dial that in,
    00:07:48,395if I wanted to, I could even go in and add,
    00:07:51,724let's say, like a little more blue
    00:07:54,251to the Specular Channel,
    00:07:55,413and add a little bit of a bluish cast to this.
    00:07:58,621I could really amp that up if I wanted to, all right?
    00:08:01,291So I'm gonna leave this just at white for now,
    00:08:04,537all right, but just to kinda show you
    00:08:05,607a lot of the things you can do.
    00:08:07,027So there's the specular,
    00:08:08,399and then I'm gonna copy and paste this merge node,
    00:08:11,317and A
    00:08:12,962over B,
    00:08:14,260right, and you're gonna notice I'm gonna kind of make this
    00:08:16,419into in a stair-step kind of a thing, right,
    00:08:19,313and then, now I've added the reflections on top, right?
    00:08:22,629And the reflections, really the way I used them,
    00:08:24,600was to get some of that blue sky reflecting into
    00:08:28,617the mountains a little bit,
    00:08:30,167and when we're closer to the building,
    00:08:31,783you'll see some reflection on the building as well.
    00:08:34,165So again, I can come into this Reflection Pass
    00:08:36,152and grade that as well, all right?
    00:08:37,910So what I'm gonna do is I'm gonna set all of this stuff up,
    00:08:41,410you know, and it's basically gonna work just like this,
    00:08:43,437I'm gonna merge the Ambient Pass over this,
    00:08:46,092I'm gonna merge the GI Pass over it,
    00:08:48,285I'm gonna then multiply the shadow in the ambient occlusion,
    00:08:52,249and then all of this stuff over here,
    00:08:54,099these are like utility passes, I may or may not use them,
    00:08:56,855that's why I put a little gap there.
    00:08:58,473So let me get this set up, I'm gonna pause it,
    00:09:00,131and then when we come back,
    00:09:00,964I'll show you how we're gonna start
    00:09:02,241really tweaking the look of this thing.
    00:09:04,805So now I've got all the merge nodes set up
    00:09:06,679and we've sort of rebuilt
    00:09:09,800our image a little bit.
    00:09:10,633So this is the original image,
    00:09:11,953and then if I look through this node here,
    00:09:14,106you can see this is the rebuilt image,
    00:09:16,553doesn't look the same as this, okay,
    00:09:19,755but that's okay because we're gonna actually
    00:09:21,583have a lot more control now
    00:09:22,783and we are gonna go and start tweaking this thing to death.
    00:09:25,576Before I do that,
    00:09:26,761I do wanna pull up one of these reference images,
    00:09:29,641like maybe this fish,
    00:09:30,640and I wanna keep it onscreen so I can
    00:09:33,925constantly glance at it and use it as reference.
    00:09:36,575So what I need to do is add a new Comp Viewer,
    00:09:40,141which is going to give me,
    00:09:42,216basically another
    00:09:44,282set of, you know, another window that I can open up,
    00:09:47,486right, so here's Viewer2,
    00:09:49,856and Viewer2 I wanna be looking at,
    00:09:53,390I wanna be looking at this image.
    00:09:56,466All right, so Viewer1 should be looking here,
    00:09:58,928Viewer2 should be looking at the fish,
    00:10:00,894and then I'm going to split my workspace
    00:10:03,802and drag Viewer2,
    00:10:05,612actually let me drag Viewer1 over here, there we go.
    00:10:08,858All right, so now I can keep this open, right,
    00:10:11,804and it doesn't matter what I'm doing over here,
    00:10:13,400this will always stay there,
    00:10:14,909and I can just kinda look at it
    00:10:16,644and notice like the contrast
    00:10:18,340and the values that I'm getting,
    00:10:19,964the level of saturation,
    00:10:21,304it's gonna help me maintain this kind
    00:10:23,742of a feel with my own piece.
    00:10:25,634So let's start,
    00:10:26,680let's go to the Diffuse Channel, all right,
    00:10:28,873and it's really, really dark.
    00:10:31,149Now, I could color-correct it
    00:10:32,479to make it a little bit brighter,
    00:10:34,081but I have this pass here,
    00:10:36,428and I think what I'm gonna do is in the end,
    00:10:37,921I'm gonna mix some of this in
    00:10:39,914and that's gonna automatically bring
    00:10:42,743some of the shadow levels up,
    00:10:44,533but give them color, so it's gonna,
    00:10:46,809it's gonna basically help act
    00:10:48,440almost like a fill light, all right?
    00:10:50,254So we've got our Diffuse Pass
    00:10:51,382and we've got our Specular Pass,
    00:10:52,667we did a little bit of a grade to the Specular Pass
    00:10:55,347and when we merge that over, this is what we get, okay?
    00:10:59,048So then the next thing we have is the Reflection Channel,
    00:11:01,804the Reflection Pass.
    00:11:03,011When we add that over, and this is what's cool,
    00:11:05,341I can kinda step through, here's before,
    00:11:07,819here's after, all it's doing really on this shot,
    00:11:10,463is adding a little bit of that blue
    00:11:12,846back into the mountains, which is cool,
    00:11:16,152but it's kinda desaturating them.
    00:11:18,088So let's look at our Reflection Pass
    00:11:19,643and maybe I could add, say, a saturation node to it,
    00:11:23,719and just pump up the saturation a little bit, right?
    00:11:26,545And so now, if I select this node and I hit the D key,
    00:11:29,794it'll disable it, so you can see that that saturation node
    00:11:33,441is just pushing a little more blue into the mountains,
    00:11:36,090which is cool, all right, I like that.
    00:11:38,840You know, and I kinda like that,
    00:11:41,039you know, if I for example,
    00:11:42,420if I come over to Viewer2,
    00:11:45,079I could load this image in as well, right,
    00:11:47,574I can kinda switch between which image is being loaded in
    00:11:50,780and I kinda like this color palette,
    00:11:53,308this is kinda where I started,
    00:11:55,145and now, looking at this,
    00:11:56,291I feel like maybe there's a little too much blue in there
    00:11:58,685and maybe what I need to do is push
    00:12:02,547the color of these mountains a little bit more red.
    00:12:06,096All right, so first let's get our comp set up
    00:12:07,592and then we'll start dealing with that.
    00:12:08,901So, here's where we're at,
    00:12:10,626and then we've got our Ambient Pass,
    00:12:13,409which I think is very similar
    00:12:15,027to the Material Luminance Pass, it's almost identical.
    00:12:18,357So, what I'm gonna do is I'm just gonna merge that over
    00:12:21,905and see what that does, okay, so here's before,
    00:12:25,231and here's after, and that makes a big difference, right?
    00:12:28,214You can see that it brings up the level,
    00:12:31,843you know, on the flower,
    00:12:33,258it brings up the levels on the vines.
    00:12:35,944If I fade this in and out like this,
    00:12:37,900you can see what it does, right,
    00:12:39,657and I do want a little bit of shadow,
    00:12:41,435so I'm not gonna mix it in 100%,
    00:12:43,687maybe somewhere around 70% works a little bit better.
    00:12:47,254Then we've got our GI Pass,
    00:12:49,124and I love using the GI Pass
    00:12:50,930because what it does is it mixes all the colors together
    00:12:53,942and you're bouncing some of the blue sky
    00:12:56,197off of the red scenery,
    00:12:59,638and you're getting some of that yellow light
    00:13:01,381coming out of the, you know, there's a Luminance Channel
    00:13:04,613on the face of the flower
    00:13:05,793and that yellow's mixing with the purple petals,
    00:13:08,297so when we merge that over, right, here's before,
    00:13:11,803here's after, it brightens everything up,
    00:13:13,335it fills in some of the darker spots,
    00:13:16,452and it might be cool, let me copy this saturation node
    00:13:18,910and paste it on the GI
    00:13:21,245because you know, the GI is gonna let you really
    00:13:24,791push your colors and it's gonna mix them
    00:13:26,994together in this beautiful way,
    00:13:28,016look at the blue tint that this building is taking on,
    00:13:31,396so here's before the GI Pass, here's after,
    00:13:35,068and that blue sky is casting blue light onto the building.
    00:13:39,241All right, so let's look at our original render,
    00:13:41,917this is the original render
    00:13:43,905and here's where we're at now,
    00:13:46,320we're already pushing past what we were able to do
    00:13:49,794with just this shot, right,
    00:13:51,379we could color-correct this
    00:13:52,328but now that we have all this control
    00:13:53,930over all these passes,
    00:13:55,341we're able to really push colors and stuff like that, okay?
    00:13:58,350So the next thing we're gonna look at is the Shadow Pass,
    00:14:00,854so here's the Shadow Pass, it's not very pretty,
    00:14:03,426but really, the most important thing about the Shadow Pass
    00:14:06,021is this shadow here that's being cast on the ground, okay?
    00:14:09,776Now, this shadow looks pretty heavy,
    00:14:12,143so what I wanna do is pull back the mix,
    00:14:14,581I'm gonna double-click on this merge node here
    00:14:16,439and I'm gonna pull back the mix.
    00:14:18,451So we're not getting as crazy of a shadow, okay?
    00:14:22,674Another thing that would be cool
    00:14:24,151is to color-correct this a little bit so,
    00:14:26,443let me add a grade node to this, all right,
    00:14:29,315and let's look through that grade node.
    00:14:32,056So, you know, what I could do
    00:14:33,567is I could push the black point like this,
    00:14:36,939right, so I can have more contrast,
    00:14:38,888just get a little bit more,
    00:14:41,273you know, a little bit more play, I guess,
    00:14:42,951out of the Shadow Pass,
    00:14:45,125and then, you know, I may need to mix this,
    00:14:47,449mix this down a little bit less,
    00:14:49,494but then another thing I can do
    00:14:52,227is I can actually come into this grade node
    00:14:54,819and I can push the color tone of that shadow a little bit.
    00:14:59,043So for example, if I go into the gamma
    00:15:00,921and I open up, you know, the four color channels,
    00:15:03,244red, green, blue, alpha,
    00:15:05,392if I push that blue,
    00:15:07,217I'm pushing a little bit of blue into the shadows, right?
    00:15:10,539And if I really crank that,
    00:15:11,916you'll see that you can really affect
    00:15:14,967the cast of that shadow,
    00:15:16,374I'm making it a lot more blue
    00:15:17,649and I don't need it to be too much more blue,
    00:15:19,566just a little bit, okay?
    00:15:22,054And then, we've got the Ambient Occlusion Pass
    00:15:24,572and this we're gonna need to do something about, okay?
    00:15:27,507So what I'm gonna do
    00:15:29,142is just multiply that Ambient Occlusion Pass
    00:15:31,752and this is where we're at currently, okay?
    00:15:35,398Now, the Shadow Pass,
    00:15:37,212I feel like it's affecting certain things
    00:15:40,379a little more than I'd like.
    00:15:41,909I really only care about that Shadow Pass
    00:15:45,753on the ground, and actually,
    00:15:47,482now that I'm looking at it,
    00:15:48,315I think the Ambient Occlusion Pass
    00:15:50,040is probably what's doing it so,
    00:15:52,470I'm looking over here and I'm thinking,
    00:15:53,780man, that is getting pretty dark,
    00:15:55,395that flower's getting really dark
    00:15:57,345from this pass to this pass.
    00:15:59,960So what I wanna do is I wanna lighten
    00:16:02,414the Ambient Occlusion Pass over here,
    00:16:04,611and in After Effects, you know,
    00:16:07,293you could do it, you'd have to pre-comp it,
    00:16:09,268make some masks and then use that pre-comp
    00:16:11,992and what that's gonna do is it's gonna create issues
    00:16:14,738when you then bring in another shot,
    00:16:16,808you're gonna have to kind of reverse engineer what you did.
    00:16:20,499In NUKE, I can set up some kind
    00:16:21,960of elaborate system of nodes and then,
    00:16:24,376literally just replace this
    00:16:25,679and the whole thing gets updated,
    00:16:27,033so here's what I'm gonna do.
    00:16:28,230I'm gonna add a grade node, I'm gonna put it here,
    00:16:31,292and I'm gonna rename it Grade.FLOWER,
    00:16:36,609okay, or GradeFLOWER, 'cause I can't add a dot, apparently.
    00:16:39,836Now, one of the cool things about NUKE,
    00:16:41,433if I look through this node up here,
    00:16:43,993I still have access to all of these channels, okay,
    00:16:46,518even though I've split them out like this,
    00:16:48,741this is really just for convenience,
    00:16:50,505so it's easier for me as a human being
    00:16:52,700to see what I'm working with.
    00:16:54,483But NUKE actually doesn't need that,
    00:16:56,210you can still access every single channel
    00:16:59,149from every single node,
    00:17:00,769and the reason that that is really useful
    00:17:03,593is for stuff like this 'cause what I could do
    00:17:05,669is I could tell this grade node to be masked by
    00:17:10,671Object Buffer
    00:17:12,697One, which is the plant, okay?
    00:17:15,689And what this is now gonna do
    00:17:17,181is it's going to only affect the plant, okay?
    00:17:20,642So I can look at it in context
    00:17:22,275and I can just adjust maybe the gamma,
    00:17:25,069and just take down the ambient occlusion
    00:17:27,941just on the flower and leave everything else alone.
    00:17:31,142It's a very, very powerful tool.
    00:17:34,633The other part of the Ambient Occlusion Pass
    00:17:36,226that's too dark is right here, okay,
    00:17:38,891and
    00:17:40,385really what I need to do is just overall
    00:17:43,561just brighten this area and you know,
    00:17:45,908I could maybe use this Building Pass
    00:17:48,971but the Vine Pass kind of overlaps it so,
    00:17:51,382in this case, what would be better,
    00:17:53,640is to take a grade node like this
    00:17:56,204and we'll rename it GradeVINES,
    00:18:00,279so we know what it is later,
    00:18:02,326and instead of trying to use one of these channels,
    00:18:04,512I could just make a quick mask, okay,
    00:18:06,356so I'm gonna add what's called a Roto node,
    00:18:08,593and all it does is it lets you draw a shape,
    00:18:10,447it's just like mask in After Effects, okay?
    00:18:12,406And so I'm gonna draw the shape like this,
    00:18:15,527and actually, before I do that,
    00:18:17,021I need to make sure that I'm on the first frame.
    00:18:20,415NUKE automatically keyframes stuff, okay,
    00:18:22,815by default, it's automatically gonna set keyframes
    00:18:25,143every time you change what frame you're on,
    00:18:27,191so I wanna make sure I'm on the right frame.
    00:18:28,872So I'm gonna go to my Roto node
    00:18:30,635and I'm just gonna draw a little shape around this,
    00:18:34,478all right, and one of the things I love about NUKE
    00:18:36,603is you can just hold Command,
    00:18:39,185so I can like move this and then hold Command and just push
    00:18:43,346these edges out and what I'm doing is I'm creating
    00:18:47,269a feathered mask really, really quickly.
    00:18:51,587Okay, and a little bit of a feather down there,
    00:18:56,442there we go,
    00:18:57,424and I just want that mask to kind of feather out
    00:19:00,715so there's not like a hard edge
    00:19:03,795to this color correction that I'm about to do.
    00:19:06,585All right, if I look through this Roto node
    00:19:08,121and look at the Alpha Channel,
    00:19:09,715this is what it looks like.
    00:19:11,510Oh, here's another thing that
    00:19:12,486I've completely forgotten to do.
    00:19:14,104So in NUKE, it's very important that
    00:19:16,220before you do anything like this,
    00:19:18,330you set up your script so that the resolution is correct.
    00:19:21,368So I'm gonna hit the S key
    00:19:22,970and set my full size format,
    00:19:25,321which is basically like your comp size,
    00:19:27,225I'm gonna set it to
    00:19:29,6201920 by 820,
    00:19:32,067which is, you know,
    00:19:33,767the size of our render basically.
    00:19:36,165And so now any time I create a Roto node
    00:19:38,037or anything like that, it's gonna be the correct size.
    00:19:41,676So if look through the Alpha Channel of this Roto node,
    00:19:45,277you can see that now I've got this nice little feathered
    00:19:47,731Alpha Channel like this.
    00:19:49,259And so what I can now do
    00:19:51,375is come over to my grade
    00:19:54,438and I can grab this little arrow,
    00:19:56,191which is the mask arrow which a lot of nodes have,
    00:19:58,244and I can pipe in that Roto and so now,
    00:20:00,219if I look through this,
    00:20:01,587I can just affect that part
    00:20:04,986of the Ambient Occlusion Channel.
    00:20:06,665And I can go to the last frame
    00:20:08,752and I can just grab these points,
    00:20:12,885right, and move them up
    00:20:17,314and just really quickly kind of keyframe that shadow, okay,
    00:20:20,907and I can adjust this and make this a little bit,
    00:20:23,514a little bit smoother, a little more feathered,
    00:20:26,539and it's really quick,
    00:20:28,765and then just kind of step through and check,
    00:20:31,534all right, and make sure that we're getting,
    00:20:33,698we're getting that good result, and so now,
    00:20:34,852if I look through this, right, and I come in here,
    00:20:38,480it's still pretty dark, we're gonna color-correct this,
    00:20:40,275but now look what happens if I take that grade node off.
    00:20:44,260Right, we're now bringing back so much detail
    00:20:47,698in the building, okay, and this is really important.
    00:20:50,890All right, so now what I wanna do
    00:20:52,437is I wanna add in this material color node
    00:20:55,711and I wanna see what that's gonna do for me
    00:20:58,093'cause I think what it's gonna do
    00:20:59,613is it's gonna help me
    00:21:02,319even more fill out this scene a little bit, all right,
    00:21:05,512and I'm probably gonna mix it very low,
    00:21:08,226so let me kinda scoot these things over a little bit
    00:21:10,767and add a new merge node,
    00:21:13,597all right, and I'm gonna merge A over B,
    00:21:17,168and let's just take a look at this.
    00:21:19,043All right, so that has a very profound effect
    00:21:21,605on my render but I can really,
    00:21:23,662I can mix it all the way to zero
    00:21:24,870and then just push it up just a little bit, okay?
    00:21:27,766And it's just filing in
    00:21:30,587a little bit of the shadows,
    00:21:32,499a little bit of the darker parts, okay?
    00:21:35,091All right, so now let's start to get really specific so,
    00:21:38,034the vines are way too dark, I want them to be brighter.
    00:21:41,520Now I've got this Material Luminance Channel
    00:21:44,847but I've already got this Ambient Channel,
    00:21:46,868it's kinda doing the same thing
    00:21:47,770so I don't think I actually need
    00:21:48,721this Material Luminance Channel, I'm just gonna delete it.
    00:21:51,351And what I'm gonna do is I'm gonna start
    00:21:53,756now working down like this okay?
    00:21:56,215So now I'm gonna start affecting the entire comp.
    00:21:59,205So I'm gonna add a grade node, right,
    00:22:01,610this is one of the most common nodes,
    00:22:03,058I use it all the time,
    00:22:04,532and I'm gonna call this GradeVINESBRIGHTEN.
    00:22:10,154All right, and what I can do is I can say
    00:22:13,175Mask by and I can find the Vines Object Buffer,
    00:22:17,827which is one, two, three,
    00:22:19,369that's gonna be Object Buffer Three.
    00:22:21,442Now, I have two options, one,
    00:22:23,959I could grab that little arrow on the side here, right,
    00:22:27,776remember I talked about this little arrow?
    00:22:29,746I could grab that and bring it all the way up
    00:22:32,593and pipe it right to this, right to this little node.
    00:22:37,058So how about for this one we do that
    00:22:38,767'cause this gives you a good visual cue of what's going on
    00:22:41,638and so now, if I push the gamma there,
    00:22:43,211I'm just brightening the vines, okay?
    00:22:45,657And gamma kind of affects the mid-range of the color,
    00:22:49,506gain affects kind of the higher
    00:22:52,189brighter parts of the color,
    00:22:53,535so if I push the gain, I can get a little more contrast
    00:22:56,898while still keeping some of those shadows in there,
    00:22:59,870and then maybe I'll take the offset
    00:23:01,440and lower it a little bit, right,
    00:23:04,306and play with multiply which
    00:23:05,378is kind of an overall adjustment
    00:23:07,325and really just brighten those up, okay?
    00:23:09,639So now, look at that,
    00:23:11,491and that's brightening the little leaves
    00:23:13,253that are popping up as well, okay?
    00:23:15,484So this is 100% scale right now
    00:23:18,145and I want you to look at this and then look at this.
    00:23:20,785Look at the difference that we're able to pull
    00:23:23,404out of that render just by having a few extra passes, okay?
    00:23:27,374And as we move through the scene,
    00:23:29,983you're able to see
    00:23:32,240that now you get a much better look at those vines, okay?
    00:23:35,863Cool, so now,
    00:23:38,016you know, why don't we,
    00:23:40,056you know, take a look at some of our Buck
    00:23:43,623reference images, okay?
    00:23:44,599So one of the things that,
    00:23:45,730obviously there's a vignette, obviously there's,
    00:23:48,932let me set this up correctly
    00:23:50,576so I can actually go to Viewer2, all right,
    00:23:53,618and then I'll go to Viewer1 and I'll look at this, okay.
    00:23:57,576So, one of the things that I'm noticing
    00:23:59,020is that there's just not nearly as much contrast, right,
    00:24:02,418like over here you've got some parts of that image
    00:24:04,817that are almost totally black and here you don't
    00:24:07,421because I've sort of brought back so much of that light.
    00:24:11,544So now I could just do kind of an overall grade, all right,
    00:24:14,993so I'm gonna call this grade.OVERALL,
    00:24:19,819and I keep saying dot,
    00:24:21,095even though you can't put a dot there.
    00:24:23,453All right, and I'm gonna push the gain, right,
    00:24:26,253to get brighter pixels,
    00:24:28,801and then I'm gonna push the offset,
    00:24:31,750right, to darken it a little bit, okay?
    00:24:35,441And you know,
    00:24:36,983you can also mess with the black point and the white point,
    00:24:39,185which are really kind of heavy
    00:24:40,398handed ways of color correcting
    00:24:42,952and I generally kinda stick around here.
    00:24:45,340Another thing I might try actually,
    00:24:47,510so the grade node is great but there's another node
    00:24:49,361called the ColorCorrect node,
    00:24:51,771gives you a little bit more fine control
    00:24:54,030so I could actually come to like the midtones
    00:24:55,791and just affect the gain there, I'm gonna look through this,
    00:24:58,851and that is really just gonna affect bright parts,
    00:25:01,901highlights, if I affect the gain on the highlights,
    00:25:04,554it almost won't do anything
    00:25:05,718because the highlights on the ColorCorrect node,
    00:25:08,435they really only affect the bright,
    00:25:10,083bright, bright, bright, bright parts,
    00:25:12,007which I guess we don't really
    00:25:12,840have anything bright enough yet.
    00:25:14,156So I've got the gamma and then,
    00:25:16,715on the shadows, I could affect the gamma and push that down,
    00:25:20,102get a little more contrast, okay?
    00:25:21,961So, let's take a look at what that node did, right.
    00:25:25,570Now we're getting closer to this, right,
    00:25:27,024it's bringing back some of that nice contrast.
    00:25:30,014Now looking at this, I feel like mmm,
    00:25:31,906maybe that Ambient Occlusion Pass
    00:25:35,614is just getting a little heavy,
    00:25:36,900so maybe I'll go to the merge node for it
    00:25:38,719and just bring down the mix a little bit, all right,
    00:25:41,178just a little bit like that.
    00:25:44,171And you know, I kinda wanna step through my comp
    00:25:46,960and see all the steps, see what I'm doing here,
    00:25:50,846cool.
    00:25:51,679I feel like I'm pushing the shadows a little bit far,
    00:25:56,190okay.
    00:25:57,645Cool? All right, so I'm starting to dig this.
    00:25:59,915All right, so another thing that I wanna look at
    00:26:02,896is the colors, okay,
    00:26:04,097so I wanna look at the color of the ground.
    00:26:06,915So what I wanna do is
    00:26:09,523I wanna actually pull up, in Viewer2,
    00:26:13,258this, okay, so I can look at the colors,
    00:26:15,504I really like
    00:26:17,237this kind of red where it's very red
    00:26:20,282with a little bit of blue in it.
    00:26:21,736This is a little bit too blue.
    00:26:23,475So now what I'm gonna do,
    00:26:25,255all right, let me first rename this ColorCorrectOVERALL,
    00:26:28,720and what I'm gonna do is after this color correct,
    00:26:31,652I'm going to add what's called a hue correct node, okay?
    00:26:36,276And I'm gonna pipe this in now,
    00:26:37,819this node is really cool, so the way it works,
    00:26:41,629all right, and let me make sure that I
    00:26:43,771still have my reference up,
    00:26:45,506I keep hitting the wrong buttons here, okay.
    00:26:48,454All right, so the hue correct node,
    00:26:50,747as I mouse over parts of my image,
    00:26:52,676it will show me where on this
    00:26:53,903hue chart that color falls, okay,
    00:26:57,000and then, I can affect different curves
    00:27:00,033for that specific color.
    00:27:01,138So for example, I wanna pull some of the blue
    00:27:04,108out of this color,
    00:27:06,532overall, across my whole scene.
    00:27:08,482So what I'm gonna do is I'm gonna go to the blue curve,
    00:27:11,250and you can see here's my blue curve,
    00:27:12,668it's flat right now,
    00:27:14,013and I'm gonna mouse over and I'm just noting
    00:27:16,261where that yellow bar is falling, right,
    00:27:18,854and it's falling around here.
    00:27:20,247So I'm gonna hold Command and Option and create a point here
    00:27:22,503and I'm gonna drag the blue down,
    00:27:24,257and you'll see what it's doing, all right,
    00:27:26,425it's pulling blue out of that color.
    00:27:29,077If I pull too much blue out,
    00:27:30,607it starts to look kind of yellow like that,
    00:27:31,981if I can add more blue, it looks really purple.
    00:27:34,256So I'm pulling it down,
    00:27:35,790I'm kinda glancing over here and looking.
    00:27:38,084I may also wanna add a little bit of red there, okay.
    00:27:42,926All right, so that hue correct node,
    00:27:44,477it let's you do really specific color corrections
    00:27:47,780and I also really like
    00:27:50,282the richness and the contrast
    00:27:53,399in this picture and we've got
    00:27:55,533a lot of contrast in the plant,
    00:27:57,136we've got a lot of contrast in the building,
    00:27:58,580the landscape is feeling a little flat, all right,
    00:28:00,749so let me call this HueCorrectGROUND,
    00:28:05,154right, so I know what it is,
    00:28:07,060and then I also wanna color correct up,
    00:28:10,298I pulled this way up too high, here we go,
    00:28:12,747I want to color correct the ground a little bit more
    00:28:16,512just to get a little bit more shadow out of it,
    00:28:18,550get a little more contrast.
    00:28:19,666Now, one thing you need to know about NUKE, which is great,
    00:28:22,104is I'm doing all these color corrections
    00:28:24,084and you know, the color correct that I did back here
    00:28:26,524is being affected by this one and this one and this one,
    00:28:29,575and you don't lose any quality.
    00:28:31,205NUKE is smart enough to sort of
    00:28:33,173look at a everything you've done
    00:28:34,551and then basically it only touches your image
    00:28:37,207once or twice, it doesn't actually touch it,
    00:28:39,712then touch it again, then touch it again,
    00:28:41,048you're not losing anything by doing,
    00:28:43,032by stacking hundreds of color correction nodes,
    00:28:44,908it's totally cool to do that.
    00:28:46,968Okay, and looking at this now,
    00:28:48,484I feel like I may need to add a little bit of that blue back
    00:28:53,542'cause it's starting to look a little bit yellow, okay.
    00:28:55,928So then what I'm gonna do is I'm gonna add a grade node,
    00:29:00,046and I'm going to pipe that in
    00:29:02,377and I'm gonna set this to be GradeGROUND,
    00:29:06,323and I'm gonna just do this the easy way, I'm gonna say mask,
    00:29:09,853and I wanna use Object Buffer, and let me double-check,
    00:29:12,502I wanna use this object buffer here,
    00:29:14,352Object Buffer Scene.
    00:29:16,146Right, if you remember,
    00:29:17,523we combined the mountains and the ground
    00:29:19,599into one object buffer in case,
    00:29:21,617just in case we wanted to do this exact thing.
    00:29:24,234So that is Object Buffer 6, right there,
    00:29:28,113and I'm gonna come in here
    00:29:29,437and I'm actually gonna push the black point a little bit,
    00:29:32,174okay, I'm gonna push the black point
    00:29:33,842and I'm gonna pull the white point a little bit
    00:29:35,609and get even more contrast out of there.
    00:29:39,169Now when I push the black point,
    00:29:40,636it's saturating the blacks a little bit too much,
    00:29:45,039so I may also wanna desaturate the ground a little bit.
    00:29:50,016So maybe what I'll do is I'll add another saturation,
    00:29:54,886right, and I'll call this
    00:29:57,287Saturation, or I can actually rename it
    00:30:00,788DesaturateGround.
    00:30:04,369And another thing you can do in NUKE, by the way,
    00:30:06,264is you can come in here and give this thing a label,
    00:30:08,172you can add little notes,
    00:30:09,771I'm not really going to that much trouble
    00:30:11,406because I'm trying to do this
    00:30:13,149as efficiently and quickly as possible,
    00:30:14,524but now I can say mask by Object Buffer 6,
    00:30:19,813and just desaturate it just a little bit, okay,
    00:30:22,478just so it's not getting really crazy, okay?
    00:30:28,405Somewhere in there I'm desaturating it like 10%,
    00:30:30,759not very much.
    00:30:31,782So let's step through, so we started here,
    00:30:34,461right, brighten the vines,
    00:30:36,491did an overall correction,
    00:30:37,962corrected the hue of the ground,
    00:30:39,561brighten the ground to give more contrast,
    00:30:41,152then desaturated it a little bit.
    00:30:43,113So we're here, right,
    00:30:45,463and we started
    00:30:46,991with this out of Cinema 4D,
    00:30:48,950so we're getting a much different look already, okay?
    00:30:54,089Cool, and now looking at this,
    00:30:56,082the brightness of the vines is probably
    00:30:57,829getting a little crazy so let's, you know,
    00:30:59,455let's dial those back a little bit
    00:31:02,639and try to keep a little bit
    00:31:04,075of that contrast in there, okay?
    00:31:06,769Cool?
    00:31:07,764And then if we look at it at 100%,
    00:31:09,515you can see that there's a ton of detail in there,
    00:31:12,549we still can see some ambient occlusion in there,
    00:31:14,577it still looks really nice.
    00:31:16,485So another thing that
    00:31:18,960I thought might be interesting to try
    00:31:21,189is to give the sky a little bit more variation.
    00:31:23,647So, this sky just has a gradient texture to it,
    00:31:26,922really simple,
    00:31:29,021but because we've got a matte for it,
    00:31:30,951it'd be really easy to actually
    00:31:33,718tweak the colors a little bit.
    00:31:35,558So, you know, the sky is generally,
    00:31:38,602you know, if the sun's going up,
    00:31:40,451then you know, the sky is gonna be
    00:31:42,336a little brighter on the bottom than on the top,
    00:31:43,970but why don't we push that a little bit.
    00:31:45,910So what I could do is add another grade node
    00:31:48,557and you can see how powerful
    00:31:49,980like just color correcting is.
    00:31:52,397I haven't done any real fancy compositing yet,
    00:31:54,891this is all just color correction at this point.
    00:31:57,319I could call this GradeSKY,
    00:31:59,907and let me start organizing this a little bit too
    00:32:02,657because I think this is going to
    00:32:05,765start to get confusing.
    00:32:07,963So what I might do
    00:32:09,782is add like,
    00:32:12,252let me think here,
    00:32:13,085let me add like some organizational stuff, right so,
    00:32:15,704in this little group here,
    00:32:17,672you've got all these nice little,
    00:32:20,151these little things that can kinda help you organize.
    00:32:22,027So for example, a backdrop node,
    00:32:23,705this is a great node,
    00:32:25,553and let me see, did I actually add one?
    00:32:27,744I did, here it is, here's the backdrop node.
    00:32:29,786What this does is it lets you add, literally,
    00:32:32,373just like a little,
    00:32:34,227a little backdrop to a group of nodes,
    00:32:37,104and now, you can select them all at the same time
    00:32:39,681just by clicking this and I could rename this thing,
    00:32:43,970'cause these are all, you know,
    00:32:45,315ground sort of corrections, so I could just name it Ground,
    00:32:47,705I could even give it a label, GROUND, okay,
    00:32:51,071and make that, I don't know, bigger fonts and I can
    00:32:53,619change the color of this, you know,
    00:32:55,821and maybe try to make it
    00:32:57,100the color of the ground or something
    00:32:58,492so that it's very clear at a glance
    00:33:00,568that this is all color corrections
    00:33:02,470related to the ground, okay?
    00:33:04,947And so, I'll probably go back,
    00:33:06,498after I set up this first shot and organize this,
    00:33:08,960so that when you guys download this NUKE script,
    00:33:11,310it'll make a little more sense to you.
    00:33:13,291All right, so we've got the grade for the sky
    00:33:15,416and what I wanna do,
    00:33:18,006this is gonna be a little more interesting.
    00:33:19,485So, what I wanna do is just affect the color of the sky
    00:33:23,974but not the whole sky.
    00:33:25,229So, you know, I could come in here and say
    00:33:26,896mask by, you know, Object Buffer 7, which is the sky,
    00:33:32,019and then I can just affect the sky, right,
    00:33:34,676which is great.
    00:33:35,509And even that is already looking a little bit better
    00:33:38,194just affecting the gamma of it
    00:33:39,915and pushing the contrast of the sky a little bit more,
    00:33:43,077like here's before, here's after,
    00:33:45,208it just gives it a little more something.
    00:33:47,174If I push the gain,
    00:33:48,147it's gonna brighten up the bottom part there,
    00:33:50,164it's getting a little too saturated,
    00:33:51,660but let's say that I wanted to do this,
    00:33:54,947you know, but not across the whole sky,
    00:33:57,248maybe really just affect the center part
    00:34:00,956of the frame a little bit and leave the edges alone.
    00:34:03,825So in this case, let me turn off this mask by,
    00:34:07,434and so here's what I'm gonna wanna do.
    00:34:09,814I'm going to want to make one of those Roto nodes,
    00:34:12,676the hot key is O if you're following along,
    00:34:15,546and I'm going to just draw roughly, like you know,
    00:34:18,584a shape like this for the sky, okay?
    00:34:22,588And then, I'm going to come in
    00:34:25,323and feather this
    00:34:28,214so it's only affecting, you know, the parts that I want,
    00:34:32,846and giving me like a nice kind of, you know,
    00:34:35,179almost like a vignetting effect to this, cool?
    00:34:39,316All right, let me smooth these out a bit,
    00:34:42,067and so what I need to do is take this Alpha Channel
    00:34:45,242and I need to use it to crop out
    00:34:48,489the sky's Alpha Channel.
    00:34:50,625So the way I'm gonna do that
    00:34:52,068is I'm going to take
    00:34:54,799this, uh not this, sorry, this,
    00:34:56,951I'm gonna take my sky matte, my object buffer,
    00:35:00,014and I'm gonna pipe it into my Roto node, okay?
    00:35:04,768So if I look through my Roto node, I see this,
    00:35:06,990and then I see this Alpha Channel,
    00:35:09,114and so what I wanna do is look at the Alpha Channel
    00:35:12,742and I want to take this shape, right, that I just made,
    00:35:17,084and I wanna invert it, and I wanna make the color black.
    00:35:21,051And so what that's doing is it's taking this
    00:35:23,037black and white Alpha Channel,
    00:35:25,189right, like that already exists,
    00:35:27,732and it's painting parts of it black.
    00:35:30,753This is one of the things about NUKE
    00:35:31,960that took me a while to get the hang of,
    00:35:33,679to really think about
    00:35:36,194an Alpha Channel as an image that you can manipulate, right?
    00:35:40,295So we start with this,
    00:35:43,151and then we have, you know,
    00:35:44,833this Roto shape that we've made,
    00:35:47,251and I'm inverting it, turning it black,
    00:35:49,079and basically painting black around this Alpha Channel,
    00:35:51,244so what this is gonna do for me now
    00:35:53,960is it's gonna let me use that as a mask, okay?
    00:35:58,086And so now, if I look through this grade node
    00:36:01,464and I really crank it,
    00:36:02,344you can see it's really only affecting
    00:36:03,889that one part of the sky, okay?
    00:36:07,301Which is cool.
    00:36:08,209So what I would probably wanna do,
    00:36:10,195because I actually really liked the way the gamma looked,
    00:36:13,522so I'm gonna actually, for now,
    00:36:15,934I'm just gonna set this one to mask by Object Buffer 7,
    00:36:20,022and I'm gonna push that gamma and the gain because that,
    00:36:23,082I was liking the way that was looking.
    00:36:24,894Bu then, I'm gonna add another grade node, like this,
    00:36:29,638and that's gonna use this as a mask, okay?
    00:36:32,723So this is gonna be GradeSKY2,
    00:36:36,425and so now I have like another set of controls
    00:36:39,237where I can push, let me look through this node
    00:36:41,410so I can see what it's doing
    00:36:43,207and make sure that I've got my Alpha Channel correct,
    00:36:45,156here we go,
    00:36:48,062mask, there we go,
    00:36:50,051and now I can use this extra set of controls
    00:36:52,606to push the center even a little bit more
    00:36:55,344and get almost a little bit of a halo out of it if I wanted.
    00:36:58,297And then I can come in and say okay,
    00:37:00,033well I really need to,
    00:37:03,452I really need to like constrain this
    00:37:05,829a lot more than I have,
    00:37:08,543okay?
    00:37:10,576There we go, and one thing you gotta be aware of
    00:37:13,318is that it's very easy to accidentally set keyframes
    00:37:15,694so I'm making sure that there's
    00:37:16,830only one keyframe on this Roto node.
    00:37:20,099Cool.
    00:37:20,933All right, so now we started here,
    00:37:23,713we did some color correction to the sky,
    00:37:25,206now we're here, okay?
    00:37:27,807Cool, so now let's, you know,
    00:37:29,919take a look, this now even feels darker
    00:37:33,321than our image, I wanna now,
    00:37:34,479I'm gonna go to Viewer2 for a minute and pull up,
    00:37:37,568let me pull up like this shot.
    00:37:39,759All right, this shot has a lot of richness to it,
    00:37:41,755I really like the shadows, I like,
    00:37:44,016you know, what's going on,
    00:37:46,448and mine is almost feeling too bright,
    00:37:49,265but since it's a, you know,
    00:37:50,379it's a totally different color palette
    00:37:51,773and it's, you know, a brighter scene,
    00:37:54,396I think that's okay and once we even the edits
    00:37:56,819and do some other things,
    00:37:58,201it's gonna dull it back a little bit,
    00:38:00,149which will be nice, okay?
    00:38:02,418Here's the fish shot which I really dig too,
    00:38:05,983and you know, our colors are way more saturated
    00:38:08,436so at the end I might actually
    00:38:09,800desaturate the whole thing just a little bit.
    00:38:12,639This is actually
    00:38:14,498another reference image that I thought was really great,
    00:38:17,199I liked how there was a warmth to the whites,
    00:38:20,657so what I'm gonna do is come over here, grab Viewer1,
    00:38:24,157look through this again,
    00:38:25,425and I'm gonna do a little bit more
    00:38:28,398to the overall color correct,
    00:38:29,992so I can come over here to this overall color correct,
    00:38:32,809I can come into my midtones
    00:38:34,509and let's go to the gain and open up our colors
    00:38:38,038and let's just add a little bit of red
    00:38:40,538to this and see what that does,
    00:38:42,819just a little, all right?
    00:38:45,219I could also go to the highlights
    00:38:47,217and if push these highlights,
    00:38:49,211you could see it doesn't really do that much right now.
    00:38:52,845You get a little bit,
    00:38:53,678you can see it's affecting pretty much
    00:38:55,144just the brightest parts of the image,
    00:38:57,399right, not really doing too much.
    00:39:00,032So what might be an interesting way
    00:39:02,106to push a little bit of warmth into it
    00:39:03,702is to go to the Specular Pass, which we've graded,
    00:39:06,920and in the grade for the Specular Pass,
    00:39:09,598add a little bit of red, right,
    00:39:11,328you could add a lot of red
    00:39:12,486but we don't wanna add too much,
    00:39:13,420we're just gonna add a little bit of red, okay?
    00:39:18,175And then let's come back here
    00:39:19,614and let's look at the end result as we do this, right?
    00:39:22,629So, when it was at 2.05 in the red channel,
    00:39:25,127it looks like this.
    00:39:26,342If I pop it up to 3.05, you can see,
    00:39:28,368it just adds a little bit of a warmth to the specular hits
    00:39:33,494and it doesn't really affect the mountains too much.
    00:39:36,997Now of course, if I wanted to,
    00:39:38,189I could put a separate grade
    00:39:40,068and I could just grade the building,
    00:39:41,934so I'm gonna pump this up to about 2.65,
    00:39:45,456all right, let's look at this 100%,
    00:39:46,811I like the warmth that that's adding to it.
    00:39:50,281Cool, okay.
    00:39:51,973So now, once again, I like to do this,
    00:39:54,032so let's look at where we're at, where we started,
    00:39:57,317two very different looking shots so far, okay?
    00:40:01,031All right, so now,
    00:40:02,961one huge thing that we do not have yet
    00:40:06,414is any sort of depth fog to this, right?
    00:40:11,432When you're in any kind of environment,
    00:40:13,902the atmosphere is gonna sort of fade colors out
    00:40:16,756as you get farther away,
    00:40:18,055and this is supposed to be really,
    00:40:19,225really far away from this flower.
    00:40:21,729So we need to have the flower in the ground,
    00:40:24,320that's close to the flower, be a little more saturated,
    00:40:27,874and you know, in general,
    00:40:29,704so one way I could've done this
    00:40:31,297was by creating a Depth Pass.
    00:40:34,242There would be a problem with that in that
    00:40:36,344this scene has so much depth,
    00:40:38,692the Depth Pass wouldn't really have
    00:40:39,967enough resolution for that to work.
    00:40:42,670I mean, it could work but it wouldn't work all that well
    00:40:44,179so I'm just gonna do this by hand.
    00:40:46,245So what I'm gonna do is I'm basically, oops,
    00:40:49,272I disconnected this,
    00:40:50,227what I'm gonna do is I'm gonna create
    00:40:52,564a blue kind of color cast across the whole scene,
    00:40:56,229and I'm gonna fade it basically
    00:40:58,027from top to bottom like this,
    00:41:01,920and then it's only going to,
    00:41:03,949it's not gonna affect the flower,
    00:41:05,149it's only going to affect the ground,
    00:41:07,854the mountains, the building,
    00:41:08,761so everything but the flower basically,
    00:41:11,908and the sky, the sky won't be affected either.
    00:41:14,694So, here's what I need to do,
    00:41:17,161I need to first create a matte for all of those things,
    00:41:20,034okay, so let's come up here to our little toolbox
    00:41:23,368and do that, okay.
    00:41:25,221So, what I'm gonna use is this matte and this matte,
    00:41:29,161I need to combine them, okay?
    00:41:31,199So what I'm gonna do is just use a merge node
    00:41:35,680and I'm just gonna merge
    00:41:38,778this and let me kinda do this over here,
    00:41:40,892so I'll merge this
    00:41:43,202and I'll merge, I could do it here I guess,
    00:41:45,509and I'll merge the plant, all right?
    00:41:48,652And it's gonna start,
    00:41:49,485we're gonna start to get some little crisscrosses
    00:41:51,128and stuff like that but that's okay.
    00:41:52,764All right, so this is what we get
    00:41:54,511and this was the problem I was talking about.
    00:41:57,822When you try to just take two mattes and combine them,
    00:42:02,630this is what happens, you'll get this little fringe,
    00:42:04,539and so I need to take this and I need to do an erode,
    00:42:08,039and I'm gonna use the filter erode
    00:42:09,114and I'm just gonna erode it,
    00:42:13,058let me go back to one like this,
    00:42:15,133I'm gonna look through this,
    00:42:17,446let's see here, so we're eroding the Alpha Channel
    00:42:19,958so I need to look at the Alpha Channel.
    00:42:22,659All right, so I could erode it,
    00:42:24,809there we go, I need to erode it down,
    00:42:26,959about three pixels, okay cool.
    00:42:30,311All right, and then what I can do is duplicate this,
    00:42:34,541so if I turn, I disable this,
    00:42:36,965what this erode did was it got rid of this fringe here
    00:42:39,655which is great for me, that's what I needed,
    00:42:41,007but it also, it added a whole bunch of,
    00:42:45,705you know, it added a whole bunch,
    00:42:46,931it took away some detail basically,
    00:42:48,247so what I can then do is copy and paste that erode
    00:42:51,619and just do it again, except set it to three,
    00:42:56,687okay?
    00:42:58,087Except no, it's actually bringing that back,
    00:43:00,028so you know what?
    00:43:00,861Let's just see how this works before I go too crazy,
    00:43:04,356let's do
    00:43:06,075negative
    00:43:07,127three, there we go.
    00:43:09,458Copy, Paste, see if I can bring that back without,
    00:43:14,659no, that's not gonna work, all right, never mind,
    00:43:16,227so we're gonna start with, we're gonna start here.
    00:43:19,350Oh, I know what's going on,
    00:43:21,601I didn't double-click this, there we go.
    00:43:24,215All right, so you can see now
    00:43:25,565it's still bringing back a little bit of that
    00:43:27,106which means I probably need to erode it more
    00:43:30,946before we do this, right,
    00:43:32,873so maybe minus four and then four.
    00:43:36,522Okay, so this might work,
    00:43:38,383this might actually be a decent matte for us.
    00:43:41,755So what I'm gonna do, let me pull,
    00:43:45,187okay, let me add a, let's think about this,
    00:43:48,295what's the best way to do this?
    00:43:49,941What I'm gonna do is
    00:43:52,337I'm gonna grab a gradient node
    00:43:54,724which is called a ramp
    00:43:58,069in NUKE.
    00:43:58,902And for the two colors, I'm gonna look through this node
    00:44:02,210and I want the colors,
    00:44:05,466well, actually,
    00:44:06,299an easier way to do this would be to just
    00:44:08,461combine a ramp with a color.
    00:44:11,368So let's do this,
    00:44:12,426I'm gonna use what's called a Constant node,
    00:44:14,265a Constant node is just a flat color,
    00:44:16,413and I'm gonna click on this little guy
    00:44:18,937and then I'm gonna hold Command and click that color.
    00:44:20,989So now this constant is that color
    00:44:23,436and I'm going to do a Copy node,
    00:44:27,219all right, and what the Copy node does is it takes,
    00:44:30,841it takes one image and it makes it,
    00:44:33,294and this is just by default, what it does,
    00:44:34,663it makes it into the Alpha Channel of another image.
    00:44:37,352So this ramp is now the Alpha Channel of this blue color,
    00:44:42,397and now what I can do with this is I can,
    00:44:47,171I can actually control this ramp so,
    00:44:49,922I'm gonna look through this
    00:44:51,505but I'm looking at the controls of my ramp
    00:44:53,864and once I merge this all together,
    00:44:55,062I'll be able to use this to kind of set up my distance fog.
    00:45:00,484Cool, all right so, here's our distance fog,
    00:45:03,450and this would be a good time to make a new Background node
    00:45:08,046and go like this and rename this
    00:45:11,243DEFOG or something, right,
    00:45:12,872DISTANCE FOG so I know what it is,
    00:45:15,228and you could make it in different color, you know,
    00:45:17,496maybe make it kind of something in the bluish zone,
    00:45:21,053cool?
    00:45:23,199Bring it up a little bit.
    00:45:24,581So we've got our distance fog
    00:45:25,836and so what I need to do is take this Alpha Channel,
    00:45:28,969which is being generated by the ramp,
    00:45:30,717and I need to multiply it by this Alpha Channel, this one,
    00:45:35,318and so what I'm gonna do is grab a Merge node
    00:45:39,584and let's put
    00:45:41,818A, 'cause I wanna multiply by that one,
    00:45:45,143over this, let's take a look,
    00:45:48,106we look through the Merge node
    00:45:49,120and I need to set it to, the operation to multiply,
    00:45:52,953look through it, look at the Alpha Channel.
    00:45:55,011So this is the Alpha Channel right now,
    00:45:57,489and so, what's going on is I need to do one more step so,
    00:46:02,648here's the Alpha Channel coming out
    00:46:03,895of this erode setup here, okay?
    00:46:06,326And if I multiply it, what it's gonna do,
    00:46:08,221is it's gonna take the black pixels
    00:46:09,684and knock out black pixels against this, okay?
    00:46:13,809But what I actually want is to knock out the sky
    00:46:16,430and knock out the plant, I want the opposite of this,
    00:46:18,415so I need to add an Invert node
    00:46:21,920and stick it here, boom.
    00:46:24,223There we go.
    00:46:25,381So now, if I look through here,
    00:46:27,625if I look through the Merge node,
    00:46:29,182here's the Alpha Channel we're getting
    00:46:30,278and what's cool is I can use this ramp
    00:46:33,123and kind of interactively like create
    00:46:35,977just the perfect amount of depth fog, right,
    00:46:39,038just like that.
    00:46:40,346So now I've got this setup
    00:46:42,110which is gonna give me a great Alpha Channel,
    00:46:44,297and if I don't look through the Alpha Channel,
    00:46:45,945you see, I've got this blue color,
    00:46:48,140and you'll notice that the Alpha Channel
    00:46:50,084is not being applied, right,
    00:46:51,871it should be black down here
    00:46:53,302and there should be really nothing over here,
    00:46:56,139but that's not how it's working and so,
    00:46:58,320that's because in NUKE there's a step
    00:47:01,462that doesn't happen automatically
    00:47:02,804the way it happens in After Effects called Premultiplying,
    00:47:05,272so I'm gonna premult and now I get this.
    00:47:07,730Now what I can do is just take a standard Merge node
    00:47:11,773and merge this whole thing
    00:47:15,973over
    00:47:17,809everything else
    00:47:19,108and because of
    00:47:21,473this filter erode, I'm getting, you know, some issues,
    00:47:24,779so I'm actually gonna turn that off
    00:47:25,978and see if I can get away with not using it
    00:47:27,609because you can see it,
    00:47:29,319you know, it fixes like some fringing issues
    00:47:31,394that we'd have around the flower,
    00:47:33,055but it screws up stuff around the building
    00:47:35,170and the mountains so,
    00:47:36,361seemed like a good idea at the time, clearly wasn't.
    00:47:40,116And now, I've got this depth fog
    00:47:42,264that I can grab the ramp and literally interactively
    00:47:47,521just control it, jut like this, all right?
    00:47:49,451So this is kind of a cool setup.
    00:47:51,815So now, if I don't want as much of that depth fog,
    00:47:54,591I can just come to the Merge node
    00:47:55,779and mix it down a little bit.
    00:47:56,902So I don't need a ton, I just want a little bit, right?
    00:47:59,553Kinda like, you know,
    00:48:00,543just a little bit like that.
    00:48:02,764So here's before,
    00:48:04,454here's after.
    00:48:05,590So that may have seemed like a lot of work
    00:48:07,364to do something like that but you know,
    00:48:08,912the point is you have so much control when you do this.
    00:48:12,000Right, if I want the top of the building
    00:48:15,104to seem like it's really far away,
    00:48:17,492I can do that, okay?
    00:48:19,576Cool, all right, so now another thing
    00:48:22,228that I wanna do is I wanna,
    00:48:24,289I wanna break up
    00:48:26,711the lighting on the ground a little bit,
    00:48:28,860and you know, there's no clouds in the sky or anything,
    00:48:30,789but it's just so flat right now, right,
    00:48:33,727so what I'm gonna do is let's go up here
    00:48:36,196'cause now we've got a bunch of color correction
    00:48:37,736stuff happening up here, right,
    00:48:40,430let me move this down here like this.
    00:48:42,681So this is like our little ground spot
    00:48:44,512so what I'm gonna do is I'm gonna add a color corrector
    00:48:49,117that's only going to affect part of the ground
    00:48:51,915and I'm just gonna do this manually.
    00:48:54,278So what I'm gonna do is I'm gonna add a Roto node,
    00:48:58,431over here, and I'm just gonna grab like you know,
    00:49:01,608just like a little piece of the ground here
    00:49:04,363and maybe a little piece over here,
    00:49:07,286I'm just gonna add a couple of shapes,
    00:49:09,095just like this, right?
    00:49:10,514Just kinda randomly and then maybe, I don't know,
    00:49:12,540maybe even like off, you know, on the side of the mountain,
    00:49:16,664just making little things that are gonna be
    00:49:19,380almost like little gobos,
    00:49:21,736you know, a gobo by the way,
    00:49:24,139that's when you make a cutout
    00:49:26,779and you put it on a light when you're shooting
    00:49:28,689and it can sort of add more interest and more variation.
    00:49:31,993So we've got these little shapes, if I look through this,
    00:49:34,129this is what I just created,
    00:49:35,673an Alpha Channel that looks like that,
    00:49:38,003I'm gonna add a blur node and just blur those,
    00:49:41,024blur 'em really good, right?
    00:49:43,143And then I'm gonna pipe that into the color-correct node,
    00:49:46,657so now on this color-correct node
    00:49:48,217I could push the gain a little bit
    00:49:50,582and I'm just trying to just get some,
    00:49:53,841a little more variation in the shot,
    00:49:55,637that's really all I'm doing.
    00:49:57,201Go to the shadows and maybe, you know,
    00:49:59,589push the gain up there a little bit,
    00:50:01,550although shame it's not giving us anything.
    00:50:03,860The shadows on the color corrector node,
    00:50:05,822they really only affect the darkest,
    00:50:08,281darkest parts of the image, which by the way,
    00:50:11,722now that I'm looking at this,
    00:50:14,616I was kind of digging what that was doing,
    00:50:17,212I was hittin' the gamma in the shadows
    00:50:19,610and I was getting a little bit more,
    00:50:22,092a little more saturation out of 'em,
    00:50:23,496a little bit more richness, cool, okay?
    00:50:27,242So now, with everything kind of done in context,
    00:50:30,815it looks like this, okay,
    00:50:32,615and all that little thing did,
    00:50:35,698it just broke up the frame just a tiny bit, cool?
    00:50:40,246All right, so now let's get down to
    00:50:42,546kind of the end game here so next,
    00:50:45,611I wanna start doing some of the things
    00:50:47,250that are gonna make this feel a little bit,
    00:50:51,365I don't know what the word is I'm thinking of,
    00:50:52,443just a little bit more shot, you know,
    00:50:54,254instead of rendered.
    00:50:55,709So, what I'm gonna do is start with lens distortion,
    00:51:00,467all right, any lens you shoot with is gonna
    00:51:02,432have a little bit of lens distortion
    00:51:03,677and this is a pretty wide angle lens.
    00:51:05,714So the lens distortion is gonna actually go this way
    00:51:08,768if I really exaggerate it.
    00:51:10,487And basically, like here's a fish eye lens,
    00:51:12,657and then here's, you know, a wide angle lens,
    00:51:15,225and all it does is it basically gets rid of
    00:51:18,318any super straight lines in your shot
    00:51:20,165because lenses are not, you know,
    00:51:22,081they curve things and especially at the edges of the frame,
    00:51:26,094you're gonna have a little bit more movement
    00:51:28,326than in the center because of the way a lens is shaped.
    00:51:31,613So that was really simple.
    00:51:33,398The next thing I'm gonna do is add a vignette,
    00:51:35,968and I almost typed in vignette,
    00:51:37,311but the way I do it is with a grade node
    00:51:40,604and I'm just gonna say GradeVignette,
    00:51:46,441okay, and I'm gonna add a Roto node
    00:51:49,171and I'm just gonna grab an ellipse tool
    00:51:52,339and just straight up vignette just like that,
    00:51:56,023that's gonna create this shape, which I can then blur,
    00:51:59,693and just really just blur the heck out of it, right?
    00:52:02,642I can even push this up past that,
    00:52:05,363cool?
    00:52:07,267And then, what I need to do, is come into this shape
    00:52:10,026and I need to invert it so that way my color correction
    00:52:13,545only affects the edges of my frame,
    00:52:16,436and then I can pipe that in as my mask and use that grade,
    00:52:20,696just push the gamma down a little bit, okay?
    00:52:22,771So now, I just did a little bit of a vignette
    00:52:25,774on the edges of the frame,
    00:52:27,910okay.
    00:52:28,887Now I mentioned that the saturation
    00:52:30,861is getting a little out of control here
    00:52:32,764so I'm gonna grab a Saturation node
    00:52:35,835and just knock this down, just a hit,
    00:52:39,193right, so maybe go to .9,
    00:52:41,475okay and let's disable that and see what that's doing,
    00:52:43,455it's just bringing it back a little bit for me.
    00:52:47,437And then, I'm gonna wanna add some film grain,
    00:52:51,042so I'm gonna add a Grain node, right,
    00:52:53,270come in here and when you add grain,
    00:52:55,072you need to be looking at it at 100%
    00:52:57,440to really get a sense of how much grain that there is
    00:52:59,876and how big it is, this feels like a ton of grain to me,
    00:53:03,431so I'm just gonna kinda look through these different presets
    00:53:05,577and see if there's any that have smaller grain
    00:53:07,892that maybe would be a good starting point, like that,
    00:53:09,679all right, I don't need a ton of grain, just a little.
    00:53:12,844Even that might be a little much,
    00:53:15,496I'm gonna hit the space bar
    00:53:16,818and just look at this full frame for a minute.
    00:53:19,199And with grain, it's really important
    00:53:21,385that you actually watch it
    00:53:24,366when you're playing your animation
    00:53:26,207so that you can actually see what it looks like
    00:53:28,457when it's moving because grain changes from frame to frame
    00:53:30,912and a lot of times you won't be able to tell
    00:53:32,961if you have too much grain
    00:53:34,451until you're actually playing the animation, all right?
    00:53:37,184So if I play this, that's too much grain, all right?
    00:53:40,282I can notice the grain way too much,
    00:53:43,876it's just too heavy.
    00:53:45,037So I'm gonna come into the intensity
    00:53:46,998and I'm just gonna divide each of these by two
    00:53:49,329and I'm literally
    00:53:51,228just typing in
    00:53:53,209divide by two, this is a cool thing you can do in NUKE,
    00:53:56,243just do simple math.
    00:53:58,489Cool, and so now I have the same size of grain,
    00:54:01,016it's just way less intense, all right?
    00:54:04,624And so now, looking at this,
    00:54:07,192'cause we're getting pretty close, right,
    00:54:10,029let's go back to the beginning where we started,
    00:54:12,287that's where we started, here's where we are now,
    00:54:15,425very, very different.
    00:54:17,164Let me pull up, you know,
    00:54:19,815my color kind of reference here, all right.
    00:54:23,641So, there's a couple of things I still wanna tweak,
    00:54:26,129all right, so here's what we're gonna do.
    00:54:27,136We're gonna come up here,
    00:54:28,216I do want to make that plant
    00:54:31,523a little bit brighter,
    00:54:33,543so I'm gonna add a color corrector up here,
    00:54:38,780and I'm gonna actually use the color-correct,
    00:54:41,377not color transform,
    00:54:42,210I'm gonna use the color-correct node to do that.
    00:54:45,672I just wanna bring back some of the shadows,
    00:54:47,576'cause especially with the vignette,
    00:54:49,850it's getting a little dark, so ColorCorrectPLANT
    00:54:54,777because I'm definitely just affecting the plant,
    00:54:58,350I'm just gonna come down, let's see here,
    00:55:01,728let's see if I can actually do this on this node,
    00:55:03,570here we go, mask by Object Buffer 1,
    00:55:06,779which is the plant,
    00:55:08,467and then, I'm just gonna go into the midtones,
    00:55:10,469I'm gonna push the gamma a little bit, okay?
    00:55:13,221And you can see, I'm just affecting the plant
    00:55:14,686and I'm bringing back some of that,
    00:55:16,994some of that detail that was getting lost in the shadows.
    00:55:20,176Okay, so that's before, that's after, cool?
    00:55:22,233And that's all I wanted to do.
    00:55:24,532So, one last thing I wanna try,
    00:55:26,463and we're gonna see how this works out,
    00:55:27,660I want a little bit of a light wrap
    00:55:30,774on maybe the mountains, maybe the building,
    00:55:32,976maybe even part of the plant,
    00:55:34,302this is something I really like to do.
    00:55:36,432So what I need is an Alpha Channel
    00:55:40,746for each of these things and I can do them all separately,
    00:55:43,974it might make sense to kind of do them all,
    00:55:47,228do them all separately just so I have the control.
    00:55:49,351So here's what I'm gonna do.
    00:55:50,983So this is kind of my color correction
    00:55:53,389part of my comp right here,
    00:55:55,274and then I've got my distance fog
    00:55:57,459which comes in right here.
    00:55:58,994And so then after that,
    00:56:01,708down here, before all of this stuff,
    00:56:03,362this is where I'm gonna do my light wrap.
    00:56:05,748So I'm actually gonna use the Light Wrap node
    00:56:08,662and what the light wrap needs
    00:56:10,906is two things, it needs A, an Alpha Channel,
    00:56:14,122which can go into the A input.
    00:56:16,252And so, let's just do the plant for now, okay,
    00:56:18,732so what I'm gonna do is I'm gonna,
    00:56:20,275I'm gonna come way up here and I'm gonna grab
    00:56:23,861that plant Alpha Channel,
    00:56:26,431and I'm just gonna kind of
    00:56:28,707grab this pipe and kind of aim it down this way
    00:56:30,681so I'll be able to visually tell what I'm doing, all right?
    00:56:35,242And then, in the B input,
    00:56:37,200you need basically whatever the,
    00:56:39,294whatever the color of the light is that's gonna wrap around.
    00:56:42,948And I kinda want a nice warm tinted color
    00:56:46,746so I'm gonna use a constant
    00:56:48,421and I'm gonna grab that,
    00:56:50,404I'm gonna grab the color picker
    00:56:51,308and I'm gonna grab like one of these colors up in here,
    00:56:54,071right, and I don't want a blue color,
    00:56:55,507I kinda want one of these warmer like orange colors,
    00:56:58,743so I'm gonna just pick around until I can grab something,
    00:57:01,140something like that, okay?
    00:57:02,931So I'm gonna pipe that into the B input of the light wrap
    00:57:06,767and I'm gonna look through the light wrap
    00:57:08,171and I'm gonna tell the light wrap I only want the wrap
    00:57:10,760and I'm gonna turn the intensity way up
    00:57:13,170and take a look, all right?
    00:57:14,577And you can see that what this is doing
    00:57:17,790is it's literally just creating a little edge wrap
    00:57:20,382around just the plant,
    00:57:21,638'cause that's what I have for my Alpha Channel.
    00:57:24,233Now,
    00:57:25,777you know, I don't want the entire plant
    00:57:28,694to be wrapped around so here,
    00:57:29,981let me merge this over so you can see what it's doing.
    00:57:33,076All right, so let me merge A over B
    00:57:35,742and what it's doing is it's creating,
    00:57:38,279if I disable this,
    00:57:40,842right, it's creating that little glow around it,
    00:57:42,926and I can set this from over to say plus,
    00:57:48,173I could maybe try
    00:57:51,183color dodge, right,
    00:57:52,718which might brighten it a little more.
    00:57:55,195I always get these confused, yeah, it's color dodge,
    00:57:57,876but really over seemed to do the job,
    00:58:00,306and if you come in here and you go to Intensity,
    00:58:02,818you can really boost that up
    00:58:03,915and get like a nice, you know,
    00:58:06,318and you can play with the diffuseness
    00:58:08,739in all of these things, right?
    00:58:11,290And so I don't want all of this,
    00:58:12,662I just want a little piece of the top
    00:58:15,908to have a little bit of that light wrap on it.
    00:58:18,239So, I'm gonna do the same trick I did with my,
    00:58:22,086you know, basically with the distance fog.
    00:58:24,666So, this is basically the Alpha Channel
    00:58:27,934that I'm feeding it, right?
    00:58:28,969I'm feeding it the flower,
    00:58:30,698so what I could do is add a Roto node,
    00:58:34,226insert it into the pipe here,
    00:58:36,473and then come up here and just draw a little shape
    00:58:39,471around just that part of the flower
    00:58:40,879that I want to have that light wrap.
    00:58:43,987I can invert the shape
    00:58:46,452like this, okay?
    00:58:48,950And then I can just feather it, just like this, right?
    00:58:52,609And make sure that
    00:58:55,089I'm only getting the part of the flower that I want.
    00:58:59,168And I want that color to be black, all right so,
    00:59:03,207I'm basically taking the Alpha Channel that's there
    00:59:07,171and I'm painting parts of it black using this Roto node,
    00:59:11,040there we go.
    00:59:12,119And so now if I look through the Merge node,
    00:59:13,678only that part of the flower
    00:59:15,065is actually getting the light wrap.
    00:59:17,154Okay, so I can, you know,
    00:59:18,937now I can just kinda dial this in,
    00:59:21,476let me see if this is actually coming out right,
    00:59:22,825I think I'm doing something wrong,
    00:59:23,844here's my Alpha Channel,
    00:59:27,079all right, and okay, so I know what's going on.
    00:59:29,684So what I need to do is remove this Roto node,
    00:59:34,028come down here to the light wrap,
    00:59:36,277I know what's going on.
    00:59:37,568I need the Roto node to actually happen after the light wrap
    00:59:39,939and let me show you why.
    00:59:42,237Let me move all this stuff up.
    00:59:44,056All right, so if I look through this, and here's my Roto,
    00:59:48,571right now,
    00:59:50,907this Merge node is taking this color information,
    00:59:53,833so this is actually the Color Channel,
    00:59:55,091this is not the Alpha Channel, okay?
    00:59:57,187It's taking the Color Channel
    00:59:58,731and it's compositing that over the image,
    01:00:01,963and so what I actually need to tell this Roto node to do
    01:00:04,419is to output on the rgba channel,
    01:00:07,651so every channel, okay?
    01:00:09,762Now it will actually darken that part and now,
    01:00:12,513I can actually control the light wrap, all right?
    01:00:16,279I've been using NUKE for years
    01:00:17,440and I still get confused by it sometimes but you know,
    01:00:19,781you can see, hopefully,
    01:00:21,256the power of doing stuff like this,
    01:00:24,395cool.
    01:00:25,228So now, I can use these light wrap settings
    01:00:27,372and I can crank the intensity up if I want,
    01:00:31,312I can add more diffuseness, you know,
    01:00:34,251to kind of spread that light out more.
    01:00:37,049I could come into my constant
    01:00:38,576and I could totally change the color of it,
    01:00:40,303so if I want, you know, more saturation,
    01:00:43,974or more intensity or anything like that,
    01:00:46,883you know, and I can hold them,
    01:00:48,562what's cool is you can hold Command
    01:00:50,225and it will just kind of constrain it to just the hue.
    01:00:53,134So if I wanna push it more red
    01:00:55,012or more orange or more yellow, you could do that,
    01:00:57,888and then, you can
    01:01:00,226just you know, make it brighter, make it darker.
    01:01:03,811But I want it, I just want it to be a subtle thing, okay?
    01:01:07,890And you can see how subtle of a difference it makes,
    01:01:10,198it's not a huge, it's not huge thing.
    01:01:13,058Now, because this shot tracks, it moves,
    01:01:16,667I'm gonna have to animate this Roto.
    01:01:18,760So, I'm just gonna, you know,
    01:01:20,176and I'm just gonna do this really quickly
    01:01:21,589with like a couple of keyframes, it starts here.
    01:01:24,730And then I'll go to the middle,
    01:01:25,792make sure that it's kind of still
    01:01:27,152in the right spot and there you go.
    01:01:28,880So that quickly I've now got this
    01:01:30,025cool little light wrap here.
    01:01:32,114So let's do the same thing
    01:01:34,498for the building and for the mountains.
    01:01:36,097So, what I could do is I could just copy
    01:01:40,230this whole setup and why don't we do the building
    01:01:43,633and the mountains
    01:01:45,557as one
    01:01:47,112layer.
    01:01:48,037So what I need is a combined matte
    01:01:50,379with the building and the mountains,
    01:01:53,195so let's come up here to our little toolkit,
    01:01:56,346all right, and I'm gonna grab a Merge node,
    01:01:59,766and I'm gonna merge the building
    01:02:03,304and the mountains, and I only need the mountains,
    01:02:05,665I don't need the ground, okay,
    01:02:08,573so you get this.
    01:02:10,328And so this is gonna be our matte for that,
    01:02:13,244let me kind of make this a little bit neater-looking,
    01:02:16,922and you know, you may start to think like oh my God,
    01:02:18,907look how confusing this thing is.
    01:02:20,583What's amazing is when I do the next shot,
    01:02:22,702I literally will just replace this
    01:02:24,357and then I'll go through
    01:02:25,190and I'll tweak some of these Roto nodes.
    01:02:27,018All of the color correction should work
    01:02:28,924pretty much right out of the box.
    01:02:30,047Now you'll tweak it 'cause it's different shots,
    01:02:32,479need different things but
    01:02:34,343this whole crazy compositing setup we've got going here,
    01:02:37,481everything will reconnect
    01:02:39,375for every single shot automatically, it's a beauty.
    01:02:42,409So, here's our Alpha Channel
    01:02:44,196and I need to pipe this down into this
    01:02:48,726Light Wrap node.
    01:02:50,928All right, and I'm gonna scoot this over
    01:02:55,447so that I can scoot all this stuff over so it's not,
    01:02:59,379not get in the way.
    01:03:00,457All right, so here is the second light wrap,
    01:03:03,349and I might add backdrop nodes to explain
    01:03:05,184which light wrap is which,
    01:03:06,338so you can kinda keep track of that.
    01:03:08,437All right, and so here's what that light wrap is giving me,
    01:03:11,173and really all I would want is the top of the building
    01:03:13,189and maybe the top of these mountains, okay?
    01:03:15,482So, I could then do the same thing,
    01:03:17,813I could just add a Roto node down here,
    01:03:21,569and I could just grab, you know, like that,
    01:03:25,246I could grab, you know,
    01:03:26,172like the sun's kind of back here somewhere,
    01:03:29,468you know, so I could just grab maybe,
    01:03:33,094maybe the top of this mountain up here,
    01:03:36,499and maybe,
    01:03:38,117maybe a little bit of this one,
    01:03:40,577and a little bit of this one,
    01:03:43,412right?
    01:03:46,262I can actually just grab all of these shapes
    01:03:50,297like this,
    01:03:52,051come into Shape,
    01:03:54,263let me see here, let's go into Roto
    01:03:55,792and I can feather them all at the same time like this, okay?
    01:04:00,562And let's do a smooth falloff on the feather,
    01:04:04,518and the reason this is happening is I need to cusp these,
    01:04:08,130I need to basically round out those shapes.
    01:04:09,544So now I've got this nice feathered Roto
    01:04:12,691and I can grab all those shapes, say Invert,
    01:04:16,016set the color to black
    01:04:17,792and have that Roto node set to output on rgba,
    01:04:23,634and let's see,
    01:04:25,951so there's this,
    01:04:29,542there's this,
    01:04:31,205and I think, oh, I know what's going on,
    01:04:32,773it's probably because I have too many shapes,
    01:04:35,689let me turn these off.
    01:04:36,985So if I just have one at a time,
    01:04:39,728that's gonna work a little better.
    01:04:40,585Okay, so I'm gonna have to do
    01:04:41,866this one a little bit differently.
    01:04:43,262So what I actually need to do is take this,
    01:04:46,747I need to take this,
    01:04:49,350the output of this Roto node,
    01:04:51,221let me just look through this, right.
    01:04:52,881So if I look through this and turn all of these on,
    01:04:55,060there you go, look through this,
    01:04:57,229and make this, make all of these white,
    01:05:02,531like that, okay,
    01:05:05,267and don't invert them,
    01:05:07,048so now I can take this,
    01:05:09,818invert it,
    01:05:12,593and then I can multiply it times the light wrap.
    01:05:15,959Okay, so I'm gonna add a Merge node,
    01:05:19,221and I'm going to need to multiply this times the light wrap.
    01:05:23,371So now,
    01:05:25,587if I look at the light wrap, not the Alpha Channel,
    01:05:27,433but the actual rgba,
    01:05:30,636and did I need that invert?
    01:05:31,775Maybe I didn't, there we go,
    01:05:32,792I didn't need the invert, that was a problem.
    01:05:34,699Okay, now that seems like a silly setup, right,
    01:05:37,945to have to do all that work.
    01:05:39,018The beauty of it is now I can click this Roto node
    01:05:41,295and literally interactively
    01:05:43,768just shape these things, and even better,
    01:05:47,616let me copy that Merge node
    01:05:50,278and merge this on top of this,
    01:05:53,888and so now,
    01:05:57,338before, after,
    01:05:59,025I've added a little bit
    01:06:01,000of a light wrap to all of these things
    01:06:02,792really, really quickly and easily.
    01:06:04,957And I can, in context,
    01:06:06,559grab my Roto node and say okay,
    01:06:08,250well it'd be cool if there was
    01:06:09,748a little bit more on this edge, okay?
    01:06:12,313And I can really dial it in
    01:06:14,772while I'm looking at my comp and say,
    01:06:17,543hey, what if it came down a little further?
    01:06:19,223That's kinda neat, right?
    01:06:21,079What if it came out more to the edge of the frame?
    01:06:22,667That's great.
    01:06:23,625And then, I'm gonna have to go to my first frame
    01:06:26,526and just make sure that, you know,
    01:06:29,269that the masks still work and make sense,
    01:06:32,396and what I'm seeing is that I'm getting
    01:06:33,737a little bit of an issue because the flower
    01:06:35,849and that mountain are intersecting.
    01:06:37,830So maybe what I'll do is I'll actually
    01:06:39,756just animate this a little differently, okay?
    01:06:42,850And then I can come into my light wrap,
    01:06:45,116my light wrap settings,
    01:06:47,027and I can up the intensity,
    01:06:50,269right, and see what that's giving me,
    01:06:52,794maybe they're a little more diffused,
    01:06:56,191a little more intense, cool?
    01:06:58,840All right, so it just adds that extra little coolness to it.
    01:07:02,773Now the one on the building,
    01:07:04,418that's a little bit,
    01:07:07,071I don't know, that one's a little bit
    01:07:11,049bright, that one's a little much,
    01:07:12,472so what I'm gonna do is I'm gonna go to my Roto
    01:07:14,693and I'm just gonna select that shape and go to Shape
    01:07:16,953and bring the color down on just that one, all right?
    01:07:19,880So it doesn't affect the other ones
    01:07:21,590and we just get a little hit of it there, cool.
    01:07:24,610All right,
    01:07:26,051so now, if I look through all these layers
    01:07:28,820and you've got the vignette and the, you know,
    01:07:31,409the lens distortion and the grain,
    01:07:34,730and we take a look at this,
    01:07:36,172I can probably close this viewer down now,
    01:07:38,324I don't need this now, let me close this pane,
    01:07:41,110and this is what we've got, and this is, you know,
    01:07:43,977this is looking pretty good to me,
    01:07:45,483I may wanna do a little bit more color correction,
    01:07:50,322I may wanna push a little bit more blue
    01:07:53,167into the plant or maybe into the vines,
    01:07:55,727I may play with this a little bit more
    01:07:57,289before I send it off to render,
    01:07:59,910but hopefully you can kinda see the process
    01:08:03,935of doing something like this in NUKE.
    01:08:05,575So you start with this,
    01:08:08,161and you end up with this.
    01:08:09,907It's a very different-looking thing
    01:08:11,947and it's because we have all these passes
    01:08:13,720and we have all this control,
    01:08:15,826and you know, what I really love is that at any point
    01:08:18,370you can really just come in
    01:08:19,967and I could just, while I'm looking at the end result,
    01:08:23,298crank up the Specular pass
    01:08:25,078and see what that's gonna give me,
    01:08:27,354you know, and do a lot of,
    01:08:29,518you know, I can try a lot of extra things,
    01:08:31,193if I want more specular,
    01:08:32,601I can see it really quickly in context.
    01:08:36,776You know, the GI,
    01:08:37,853what if I push the saturation on the GI even more, right?
    01:08:40,559It's not really doing too much now.
    01:08:42,173What if I desaturate the GI?
    01:08:43,947I don't really like that as much so,
    01:08:46,627so here we go.
    01:08:47,460This is more or less the final look
    01:08:49,522that we're gonna go for.
    01:08:52,254I'm probably gonna turn down the light wraps a little bit,
    01:08:54,167now that I'm staring at 'em for a long time,
    01:08:56,017I feel like they're probably getting a little out of hand,
    01:08:59,226especially the ones
    01:09:00,828on the building and the mountains,
    01:09:03,297I'm gonna knock those down by half,
    01:09:05,590but here we go.
    01:09:06,423So I'm gonna now go through
    01:09:08,159and do this for every single shot,
    01:09:10,371render these out, and see what happens.
    01:09:13,467Comping might be my favorite part of this whole process
    01:09:16,809because you can just spend hours
    01:09:19,020tweaking little details to make your frame
    01:09:21,594look a little nicer,
    01:09:23,351to draw the eye a little better and just polish things,
    01:09:26,544and it's a really powerful way to get that polish,
    01:09:29,904you know, that we're all after as artists.
    01:09:32,838So once I had all the shots comped and I rendered them out,
    01:09:36,403I put them back in the cut
    01:09:37,912and took a look at where we stood.
    01:09:41,799(dramatic music)
    01:09:44,986Giants are not what we think they are.
    01:09:50,735The same qualities that appear to give them strength
    01:09:58,079are often the sources of great weakness.
    01:10:06,277The powerful are not as powerful as they seem.
    01:10:13,852Nor the weak as weak.
    01:10:26,712Wow, I really cannot believe that it looks like this
    01:10:30,592after staring at hardware renders for so long,
    01:10:33,549it's so amazing to see something that looks real
    01:10:36,895and looks polished.
    01:10:38,491Now the sound is still very rough,
    01:10:41,008terrible if I'm being honest,
    01:10:42,805but I'm pretty proud of the visuals,
    01:10:44,553although we're not done yet.
    01:10:46,494I wanna do something to this shot
    01:10:48,624to give it a little bit more impact,
    01:10:51,393and then at the end,
    01:10:52,306we need to make this type look a little nicer
    01:10:54,436and do some animation on it.
    01:10:56,131So,
    01:10:57,335onward.
    01:11:09,448(upbeat music)

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