Discover Compositing Magic Tricks in Foundry's Nuke

[Music] so my name is Chris Beverly I'm a new product specialist for foundry I have two jobs very quickly first thing is you might see these on your seats or knocking about feel free to scan this QR code for the chance to win 10,000 euros worth of prizes such as you know foundry production collection things like that so some really great stuff there we're just you know quick quick click and the more important job here is to introduce our speaker and try to get the name right most importantly so I'm introducing young murder perfect and he is a lead compositor at macca vision now macca vision is obviously an amazing company emmy-award-winning for their worker game of rose but yeah himself actually a ves Award winner I believe so some fantastic knowledge she's had a wealth of experience in the industry and with this talk I'm really excited to just see some insights over your terms what you've found working as a compositor for all this time and you know what you think is valuable to share to everyone so with that I pass on to you and yeah looking forward to it thank you [Applause] so thank you very much and and ladies and gentlemen welcome to pulling her to rabbit out of nuke um well I'm honored to speak here in behalf of the foundry and Mecca vision Mecca vision is almost known from its work in car and automotive visualization Mecca vision is part of Accenture interactive and well we have a team of about 70 VFX artists now in our VFX department we've got any winners among us we got we as awareness among us we've got like a lot of international experience people herself onion Berta and I'm working in a visual effects professional like about 16 years a big and very nice point in my career was winning the vs award for best environment in a broadcast and it's it was very nice and like it's at this point I just want to say thank you to the foundry not only that the foundry making it possible for me to make a living out of a beautiful job but it also make some dreams of mine getting true like being petitioned with no one visa and getting to San Francisco California to work at ILM it was a beautiful experience Thank You foundry and with like compositing it's just think about what kind of beautiful job we have as compositors it's like we can work in the film industry we can work artistically we can were creative we have the possibility to go to foreign countries to beautiful cities like Vancouver London or even New Zealand there aren't that much of jobs that make it possible well and obviously sometimes we even know how movie so I guess some of you here know who will stand in the end on the Iron Throne just guess what a really fan boy would know would give for this knowledge imagine compositing as a language you start maybe it's a toddler with a few words later on you learn sentence you can describe stories you get more complicate complicated but more more batter in your language you can build huge scripts in you you can manage it and at some point maybe you will interest yourself for lauric and poems and that's the point where in comp you maybe start designing the look making this magic in the imagery so regarding the language what is for me the most important part its its efficiency just imagine me standing here and I'm gone [Music] about yoga and you almost feel the scanline slowly getting down now be fast in your comp like you have to have immediately updates like think about you have a vector X of iterations to get your shot done you're limited by renderer and update time if you slow this update time you get your shots faster back into dailies you get your shots you get your shots faster done and you have more time to put these little cherries on top like the part of our job that makes most of the fun like how to be more efficient like the most important part for me is pre-render pre-render pre-render pre-render like in a huge script I've got maybe something like like 6070 pre renders so might take to go with pre-render yes I have my key frames may be the first to last and render these locally or maybe somewhere in between dan I wept input should just have to read note so I have already the possibility to work with the power of the pre-drilled ring and put a rest on the render farm so I'm not limited when the render farm is finished so it can be finished in maybe five minutes one hour I don't care because I already can work on a faster pace I try to not use these nodes just somewhere in the middle of a huge script I try to have these notes directly in the beginning like an even pre-render my Dino is pre right now my grid wat so I have immediately like like an applet I can put push the play button and I just get the results I try to avoid pointless or camera trekkers in my new script before obviously I need them at some point but as I'm done I bake maybe the camera and kick this one out it makes like your nuke script maybe grow up to 30 40 MB instead of your standard mid-career nuke script maybe one megabyte it's not that much but imagine you saving and you're waiting only for four seconds it's like come on and it's coming the outer size and it's come on it's like someone stopping you're thinking imagine if you get whether your pipeline is this or that or maybe you get like mad paintings and TIFF map I just love to do it in double size they give it in TIF nooks not that good and Tiff's just pre-rendered am and xrs make a crop out of it you don't have to push like 200 megabytes of a data of one tiffin to your script if it needs only might be 2 or 3 megabytes so and with this you get really really much faster the next with language think about grammar and be structured and I don't mean that your note graph has to be perfectly like straight lines and right-angled no I think already some of my colleagues are laughing because my comes look quite like a mass but it's more thinking about this red line that goes through your comp this one main stream you're putting stuff on top like remembering back to days when you've been in school you have this overhead projectors like and the teacher was putting one layer on top on top and as mucus a note based program try to think in layers that makes it much easier and apart when the layers come into your red line stream that's the part where you do your pre renderings think about an strategy how you gonna tackle your shot do you have a director that always changes mind maybe the retiming is gonna be changed do I do the right time in the beginning in the end do I do a deep combat 3d comp just everything in one scanline renderer or maybe in a lot of little scanline renders just think about the strategy then the neck link is linked from coarse to fine if I have a shot and I know like the shadings not final the animation is not founded I don't give that much maybe a work and to integrate integrating it perfectly doing the mask perfectly because then you lose time because it will change in any way I don't start my shot with the perfect grain with the perfect chromatic aberration these are the stuff that come in the end just start your bloodshot in blocking well continuing with our language it's listening what I mean with listening it's listen to real references take care how it looks in real life just get inspired yourself by maybe other movies that solved the same problem talk with your colleagues if maybe someone already finished this so listen you don't have to invent it all the time you just check what what-ifs worst ones like with this image the reference was this one and that makes it quite easier getting to your girl like with listening maybe you can make a little cherry in your speech with quotations or just use elements you don't have to use all the time CGF fake slayer you don't have to simulate everything just think about maybe shooting it and you can hear it makes so much fun shooting your own elements and it makes you proud getting them in in the end so sometimes you can't shoot every element but where we at make a vision are really happy that we got elements from action VFX they shoot them in 4k and they have a really nice library and we add make a vision our really convinced by these elements so we want just to share this knowledge with you and it's really a fun getting DS into your new script and you save a bunch of time instead of using CG effects we're continuing with our language it's the communication it's talk to each other like the 3d guide a rendering guy he already had his thoughts about doing it the way he did talk to him get him to your place it's and don't talk just only via database but try to get a face and face to face communication firstly it shows that you value his work and then you get more tips from him how to play with it and what I really like is playing a kind of ping-pong with the 3d guys so I get a first rendering and in comp Orenda iterations are much faster than in 3d you Dan can like race delight lower GI push-up reflections and getting to the 3d guy disinformation back he just flex it in into a max Maya Houdini and gives you a new rendering and like was this process going maybe back and forth for two or three times it's maybe like with this pig regarding compositing the final compositing it was that much of interesting because this was their over beam but the way getting there that was the big fun well with all this language and stuff I learned like in the career I just got to a beautiful word I learned it's called bit clock it's like you do something you're never planned and accidentally you get to a result you never experienced and actually this is built look and that's the most part of fun and a job and mostly it's like the simplicity and sing that makes it happy that makes it really nice achieving build look is you have to know what you do you have to understand the stuff and you to respect the rules before you break them and I think like every one of you knows this part like a normal ST map like red pixels mapping the image horizontally the green vertically but have you ever think what you can do with fun stuff with this kind of thing just imagine I just through a lens you get this one and the funny thing is like this reddish greenish stuff color it reflects and refracts just within your lands and just putting this image into an esteem app makes some funny part in the interior of the lands you see how the how the image behaves on the interior and this is such a little cheap trick to maybe put a little salt and pepper into your easy telescope comp and if you even get your lens dirty as I am doing you have a lens stored for free but going back to digital oh sorry here is just a simple nuke script and now going back to digital you can do fun stuff with a steam app you can like bake the texture on some some flags and damn like putting this into an SD map you just can change the texture in whatever you like so you have just baked something like your simulation even this is just the nuke script you have your rst map you have your logo and then you have just asked the 3d guy for some random raw lighting where red is coming from one side green from the other and then you have already some nice flags to put in so now for the next its meet herbert christian laettner great model or in our team just gave me a herbert inhabit will help me a little bit in the upcoming tricks so as we have Herbert like with the standard 3d rendering we have normals of course like in red the normals are showing us the normals going to horizontally in green vertically and in blue to decide looked a little bit like in the airplane but have you ever tried pushing your normals into an ST map suddenly it looks like a a little bit like a reflection and it's easy as this have you ever tried pulling your normals into an eye distort it looks a little bit like refraction it's not personally great or perfect like but it looks a little bit like that and it's such easy like this well let's take a look father have you ever tried pushing your normals into a primate and just keying your normals with the normal peachy color it's a great relighting too you can misuse primate 4 and it's as easy like this you just key our pond obviously it's black then you invert alpha and with the gamma down you just make it harder well let's take a look what if the 3d guy has forgotten to render normals or your plate obviously doesn't have normals well I could relight it with a mask but yeah doesn't look that nice I could blurt a mask but ya know that I could do this suddenly it looks interesting it follows the structure what have I done it's like only this one I just plucked my RGB into the fort of a channel of my roto and distorting my roto with the forward channel it's a little bit like thinking the other way around but with this and a little bit of build look you kind of get nice results so a nice trick in getting your environment in or maybe a little bit the color the mostly part of CG renderings like some a little bit of this white color palette you have in your real imagery so what I you can do is pushing like this it's only subtle but you see suddenly he gets like this greenish tone from the bottom bluish tone from up and it's only like this I just blur the background very strong and then put it via soft light on top actually I like to do this also on full CG renderings where they lack maybe some kind of this white colorful real imagery I try to find image photo that's a little bit in this like light palette of my full CG shot and put it over it's only a few percent but it's doing a really nice colourful palette well being at Keller's colors we can also separate luma and color and it's like I just normally desaturate my image by zero and I can't get this one out okay how did I do this it's like only putting on saturation on zero and then dividing with my color channel it's like a little bit like with this GI dividing with diffuse and v-ray setup and the great stuff with this as you once can check like only your colors and not being irritated by the luminance and you know this nasty little greenish fringes on some keys you just can't get away by separating it this way you then can maybe roto or key this little greenish tones and just put another color on top should just get rid of them well so much stuff and now something completely different and it's oh sorry no here is like the script where you can change and now to something completely different its motion blur I think like everyone of us knows this motion blur but understanding motion blur is quite interesting like in the older days in this analog days there was one rotating disc the shutter on top of our cellulite and it was rotating in one speed and then the next frame came in and like here you Dan no on the left it's a 180 degree shutter because it's what it was a clue it was only lighting our celluloid for half of the time so you know half of the time is visible half of the time is not visible maybe on the right we have a 90 degree shutter this was like they used on Saving Private Ryan as they came up to the Normandy and so we have three thoughts 3/4 not being visible and 1/4 being visible but it's a little bit too tacky so let's see an image we see in the upper part a motion blur of a little light if I go to the next frame I see it's over there so you can't and now see okay my visible part is as long as the non visible part so with this knowledge it's quite good to check with which kind of shutter the DOP shot has shot and also to check if your motion blur in your shot is correct because like normally we always have a 180 degree shutter going further like as we know motion blur we know motion vectors motion vectors are mostly representing the position from one pixel to the position of the pixel in the next frame well rat is per representing the horizontal Green is representing the vertical motion okay with this knowledge when we know the motion vector pushing the pixel to dis frame we can then do our motion blur with this vector but with this knowledge we know also where the pixel is in the next frame or in the previous frame where is it in our frame so you can quite easily instead of using your motion vectors with vector blur maybe using it with an eye distort so you can distort your pixels back from one frame before and one frame after so here we have although we have a strong parallax I just could push the pixels from Ram frame before to one frame after like this is just a script as this was a plate I just generated vectors I just put a normal eye distort and then doing in time offset of one frame before one frame after and this is really nice frame blending scenes like this was a strong parallax so you can use frame plans or if you do have to do a paint out you just get maybe pixel positions for the bike drivers not excluding the background like maybe we have this little airplane going from left from right to left so it has quite linear motion blur now suddenly our director comes in and he says I want an explosion right there so and I want a camera shake going to dab so what we are doing we're putting a maybe a second vector blur on top and then it looks like this but it's not really correct it had to look like this okay it's a little bit too small to image so take a look closer okay we see this of the light traveling across this bounce to the app um as we have like maybe this additional motion to the top we can extract our motion with motion blur Trudy and motion blur 3d weather we have normal 2d transform or in camera okay just knowing we can extract this we can think in samples just reducing firstly our motion blur into three samples we can extract maybe the motion half the frame before and half the frame after our main motion blur in the middle and we can as it's only only representing directions we can add and subtract these motions what I just want to show it's oh come on back back back just click two times so this is a really simple script with only three samples so in the middle I have my airplane with the rendered velocity so in the left I have like this transform node and via script I just getting a half frame before and a half frame after on the right I'm reading out the motion blur and then I'm plussing those this and here I'm placing those and then I'm doing three vector blur like the first one is just half frame before it's like this up going one in the middle it's our normal motion and right it's demotion in the end of the frame and also we have like in your vector blur the offset so you can offset your motion and a cool thing if you plus all kind of these together you just get maybe to something like this and it's completely only with vector blurs so yeah sure vector blur is only straight this is kind of fun because you're very flexible and after what's putting motion in or just getting away from this just linear motion blur but it's for so much work and art is beautiful but it's a lot of work so therefore just imagine how beautiful our job as compositor is smile have fun and like some tip says make your workspace inspire you I give workspace your your much longer than even at home so get some nice stuff in there make it a place you can't be happy make it your happy place sometimes we love to hide Easter eggs in our comes have you ever thought of putting animals like for my experience directors love animals if you hide some kind of animals in and the director finds that it's like oh my gosh it have I filmed it in it force in there down under start who's so cute his love towards here Denis council was so happy as he found them that was like maybe even some versions after us how long are they in there well after all from my experience I really love small projects like you have a big kind of creative and artistic freedom and I experienced so much happiness from directors like and worshiping it was like maybe she deafeningly he just came into our office with a pack of beer talked to to the artist and was so happy from his work Denis canceled on the fourth state he came into the office and he talked to everyone in a small small talk and even was like the apprentice so it was really nice from him and I really love to work with Sevilla Cola and beautiful sentence he once said is you know you guys I will never approve one shot of you because you are the experts and you know when it's final so and that was such a big fun working with the director like this and it's even I think Sevilla Cola is being from Switzerland got more from Forest Schweitzer frankly then if he wouldn't give us the freedom if he would push a cloud from left to right to top to down but he just gave us the feeling you're doing it right so after all with all my experience and everything I just want to give one more tip for your career it's a beautiful sentence Baikal Valentin mudan had a Jean phone a Bidoof inhibition I cannot thank you [Applause] you

Channel: Foundry

Views: 23,356

Keywords: fmx 2019, fmx, nuke, compositing, post production, visual effects, vfx, cgi, compositing in after effects, compositing in nuke, foundry nuke, nuke compositing tutorial, nuke 3d

Id: 2dA2o6JyCNM

Length: 34min 38sec (2078 seconds)

Published: Wed Jun 19 2019