How to make a 3D projection shot in Nuke

[Music] hello everyone and welcome to you goes desk my name is Agata and today we are going to disconcert one of the shots of the latest trailer for The Walking Dead marched war and I had the pleasure to work on for fire dot smoke the trailer The Walking Dead marched war was directed by myself and by Will O Connor at fire not smoke it was with great pleasure that we worked on this trailer for disruptor beam and I can't wait to show you some of the shots and some of the techniques that we used this is gonna be the first this construction of this project I'm gonna use a shot from the project called the katana shot which I will show you in a minute don't forget of course to visit Walking Dead march to war website to check out the game you can also get the game on both android and also at the App Store as well and of course don't forget to check out the full trailer at YouTube you can find the full trailer at Walking Dead march to war launch trailer for this wrap the beam we're very happy with this trailer we already got almost half a million views on it goes without saying that you should always check out the great work that we do at ferret smoke and last but not least I would like to thank all of these supporters and patreon for the amazing amazing financial support that they are giving to this channel I can't thank you enough I currently have 81 patrons and of course if you're watching this video for the first time if you would like to see more videos like this and you would like to support my channel to help me do these videos more regular please support even if it's just one dollar it would mean the world to me and will really help to actually do more of these videos because as you guys know I am a full time director I usually am very busy with projects but if I can get more support in patreon then I can focus more in the channel so please donate if you can and if you can't donate that is not a problem at all the videos are always free a few weeks later on YouTube so only the night if you really have the money to do so thank you so much as you saw the project is very dark so of course when you have projects that are these dark and have so many blacks and whites it's always very important for you to have good equipment so when you're doing color correction you know finishing the shots soon he give you a little really short introduction to what I usually use for a project like this so as you can see this is my setup and my in this area here I have some of my what I can say instrument monitors really I have a Blackmagic 4k monitor here and this is mainly my main rec since or nine monitor that I can kind of see how the colors look on a general broadcast monitor this monitor is very you know it lacks a lot of control you don't really have a lot of controls for color correction but it's a great monitor just to have an overview look of how the shot looks on a broadcast monitor and it's very close to an iPad which is great which most of my clients usually look through an iPad anyway then down here I have the smart vector scopes basically these are the smart scopes from black magic on one side I have my vector scope and then on the other side I have my waveform and basically as you can see the waveform allows you to really understand the luminance of each shot which means allows you really to be very accurate in terms of black levels mid-tones and and you know and highlights this on the other hand is a great tool for you to understand red queen blue and yellow and magenta to really see the balance of your image you can check my tutorial about color correction and I kind of deal with these kind of things on that tutorial you can connect how look down here I have these are really bad monitors they're not even 8-bit they're only six bit and so in this side I have a black black and white version of the image and then I have a colored version this really represents a really bad screen you know and it's really good for you to always watch everything on a really bad screen because most people have bad screens then on the other side I have a black and white and black and white images really help you to see the luminance values of images then on the other hand on this side here I have a proper monitor so this is a Technicolor approve in calibrated monitor it has hardware calibration this is the BenQ PV 3200 PT and it's a video production monitor really recommend you because it's much better than these monitors for you to really do accurate color correction without further ado let's get on with the disc construction we're gonna dis construct a shot which is my favorite shot on this trailer it's called the katana shot that's the name we gave the shot of course because we didn't really have a number for it it's one of my favorite shots because it is heavily inspired by an actual cover from The Walking Dead which is this cover that you can see here which is issue 145 called blood for blood and this was highly the really the biggest inspiration we had to create this this actual shot actually the all the shots on the trailer or heavily inspired by the comic books of course because that's what the game March the war is about really now the cool thing about this shot is that this shot is a nice shot to to dis construct because it's a projection system using a Photoshop layer and without further ado I want to show you the actual Photoshop map painting this is the Photoshop map painting the original map painting it was created this map painting was created by one of our artists that fire that smoke if you guys want to check out his work his name is Robin Florrie and he is an amazing concept artist and matte painter and you should really check out on at florea - inc.com really check out his work he has really nice portfolio for you to guys to check just so you guys have an idea of how this was done basically it started with a back plate with some scratches it then went into an actual photo the desert from there we then went into having some floors with some grass more grass of course we had the puddle of blood which had the reflection of the blade we then went in to have a skull we then had some shadows some bushes and more grass all of it to give this sense of a desert feeling we then had of course the actual shadow of the katana we had the cut on itself as a CG acid from Maya we then of course had the katana with some scratches and some reflection some paintwork some blood and then a top gradient on the top of everything now at the very end this of course was the original matte painting that was created then this matte painting of course from Photoshop went in to nuke inside of new so the script as you can see is not very very very very big it's quite simple script and the matte painting of course came in as a PSD file as you know in nuke you can open up all the PSD files with breakout layers that's what I'm doing up here I have them all and break out layers and basically just breaks out all the layers that you would have from the matte painting so this was all of course a projection system so we basically started with having the matte painting and then from there we started using the sky then I use a shuffle to bring out the scratches and with the scratches I did a bit of color correction on the scratches because it was a bit too bright we also had a white gradient this white gradient was also color corrected these then get merged to provide you with this sky that you can see here which is nothing more than a gradient scratch with the scratches then we did a better color correction to it to make it a bit more punchy and then that went into it 3d cards now inside the 3d system of nuke it became just a simple card from there we had a render camera that we animated this camera was of course a very simple camera moved just the pan basically was just a dolly in with the camera and then from there you can clearly see that we have an animation I'm going to show you the animation it's really simple just a little dolly in intreaty nothing fancy can be done on any application even even really on After Effects the cool thing about this project is because it's such a two and a half the project is it could really be done on other applications but of course my favorite compositing application is nuke and of course I have to do it with nuke and then I went in and as you can see the structure that I usually use is I start with my matte painting then I output one layer which is a sky then I output the back hill then I output to the ground and I output the background grass then I output the katana then I output the foreground grass then the katana shadow the texture and not not you know last but not least some color correction at the very end so and of course as you can see it's very organized script as I am usually you guys know how I am and and it's always better for you to be organized so next up is the heels the back heel so now the back heel is nothing more than just basically these this hill here and then we have also the back back heel and now the back heel goes in here gets cropped a little bit it gets a bit of color corrected gets an edge blur because I want to simulate a little bit of the depth of field and also to break up some of the bad edges that we had on Photoshop and then from there the back hill as well gets premultiplied and eroded and then we merge both of them together so basically we get something like this we get two layers back hills for that that again goes into a 3d card and and then it gets merged some color correction happens as well and we do have a bouquet effect here using the PG bouquet plugin which is my favorite depth-of-field plugin and you should really check it out PG bouquet is really the best one it really provides you a much more photo real depth of field than anything else and as you can see now I have the sky and the background now I for creative choices I did choose to leave the scratches not the focus otherwise it will look a bit weird but it's you see if I jump to 3d you can now see that I already have started having some parallax between the sky and the ground of course I could have put this ground as a projection but I didn't really and doesn't really matter and then from this moment on we go into the ground now the ground is a bit more complicated we have the ground with the puddle of blood which is this one here we didn't have this gets merged to the actual darkness of the puddle of the blood which gives you something like this which is nothing more than just basically premultiplication this is a bit of color correction happening and then we have more layers we have basically the extra layers on this side which are nothing more than more of the grass and the shadows of the grass this of course the shadows the grass is basically an alpha channel that I use to pipe into this great node and this great node is nothing more than basically using a multiplication a gamma a gain of 0-3 I lower the color correction to create an effective shadows that's usually always the best way for you to do shadows you usually want to pump in some kind of alpha channel and then by using the the actual you know you can actually lower it now from there on I use a projector evie this project with E is being applied to a ground this ground is nothing more I'm gonna just put a little light here so you guys to see it's not really nothing more than just a really small displacement of the ground just to pretend that it's like a desert we then project using a projection and apply material and you basically get something like this which is nothing more than a really rough projection of the ground with the shadows through the camera perspective looks a bit weird through here but if I look at it through the scanline render you can kind of see that it looks great right and also if I look at it through this one here it looks good as well so that's how that was done and then I of course have some bouquet effects depth of field this basically I'm using the actual depth of field from the scanline renderer don't forget the scanline renderer actually creates a depth pass which is actually visible here you can kind of see that there's a depth pass created by the adaptive and that's why I did a projection system because it then gives you at that pass it's actually much more more helpful then that gives you a map to field and as you can see I have like a nice that the field going on on the beginning I'm gonna go to the first frame here so you guys can see you can kind of see that it I'm pulling focus in the katana and then having some depth of field and the front and on the back as well of course this then goes into a lot of color correction never forgetting the pro multiplication and for multiplication I got a bit of a cheeky sharpen here using a lock tool in just to make sure that I as I showed you on many other tutorials I usually convert to lock tool in so that I don't have any black levels or white levels and then I can sharpen and then I can go back to the same lock tool in so basically inverting it it's linty log and then goes back to log tool in that's the way that we usually do this and then this goes in of course to the main comp so we had before we have the sky just bear with me sometimes it takes a bit of time and we have the sky then of course this now brings in the floor with the shadows and the actual pool of blood now I have the background grass now the background grass is layer grass gets pre-multiplied just a background glass remember that as always you first put the shadows of the objects and then you actually go ahead I actually left one thing wrong here I should really go back because it shouldn't be that dark and the shadows of course I was just showing you and then I forgot and so you should always put the shadows first and then put the objects so these are the two objects that we're putting the skull and the actual grass goes into a 3d system gets color corrected uses the same bouquet at this stage I'm using the PG bouquet as a clone so it's always the same PG of okay so it's always the same PG bouquet with the same kernel and the same iris then I go here and I can see now I have a 3d system with a sky and some basically some you know some grass and some shadows which is starting to look quite cool then I go ahead and have my katana now the katana is split between the CG object of the katana I have also the actual ravish katana from the reflection of the blood I also have the actual highlights of the katana I asked Robin to paint in some highlights pretending that it's like a highlight pass and I also have some paint brushes on it some blood blood splatters that are actually painted on top and that all gets color correct so first of all of course the redness of the katana itself that goes in here gets multiplied then we put in the highlights of the katana which makes it look so much nicer then we have the katana so now the highlights goes as a merge this one of course the painting gets masked by its alpha channel and then goes down on top this just gives you a nice little touch of paint strokes on top of the katana and then I have the blood now the blood needs to be of course the blood is just a splatter like this it's using splatter bloods we use the Alpha channel of the katana to actually cut it through the katana and then we merge it on top so you now have blood splatter just in the blade and nothing else this goes into a 3d system projection so this of course is the actual katana from CG from Maya this is the actual object it's a the CG object that we imported as an Olympic cache and then we just basically project the painting on top of course if you look through the back it looks a bit weird but looking from the front it looks great and then you get the nice parallax of the projection so the cool thing with this project is that it because it's the two and a half okay a two and a half the technique were basically doing three dimensional with painting which is great so it's almost like a living painting that's why I was so happy with doing this job and then this cut gets a bit color corrected the blade itself and then of course it gets emerged and now before it gets merged there's a bit of a thing going on here I wanted to have some nice nice highlights with glow so I pull in a really really subtle glow then I pull in a really large glow merge it on top merge it on top and then you get these little little highlights of glow which is nothing more than when the Sun or the moonlight hits an object so you get like this kind of diffusing happening again same sharpness just to give it a bit more character because remember this is a cartoon it's a comic book so you wanted to give this kind of sharpness into it and it gets merged on top and so at this stage this is what we have so far we have a katana the blood the reflection of the katana and all the other stuff in the in the actual background then from here we have the foreground grass now the foreground grass is just like the other grass that you saw we have all the layers here on 3d cards and then they all get merged one at a time and then they get projected now the way that this is projected is basically as cards in here on the 3d system as you can see and then this gets again the bouquet notice that I didn't had the actual PG bouquet for that the field on the katana because the katana I wanted to keep it sharp so I didn't really bother to put any depth of field and so now I have everything together so as you can see now I have a really nice 3d system going on here which is or it's just a second so I basically have my katana my grass my floor and my sky as well on a really really nice tight projection system and this then goes in to the top then last but not least I have the katana shadow the katana shadow is also a projection system on the floor basically it's this because I wanted to have an alpha channel for the katana shadow and this is what it is it's basically projected basically I have the katana itself in here then it gets projected to an apply material so did you get like the actual shadow merged on top of the floor so you get this kind of basically using the geometry you get the floor and even and that it gets rendered out it gets that rendered off as an alpha Channel and then I put some that the field on it and then like I said before I basically use it in here so that I get this nice shadow using a color corrector color corrector set to gain 0-2 then last but not least I have some extra textures so this is just some scratches extra scratches that we have I put them on the 3d cards this is nothing more than a layer that is right in the in the back between the swords and the actual this is being set as a multiply reason by it being in multiplies because I wanted the scratches to have because we already had the white scratches from the background but I wanted some black scratches just to give it a bit of texture as you can see here it just gives this kind of nice touch of dirt and grittiness to the shot especially on these lines here you basically just get these really nice dirt like layers then I go into some depth some color correction I have a little weighted blur here with some glow this glow of course is just a really subtle diffusing that I gave on top of the whole image then I have of course a bit more diffusing of the highlights this time picks up the highlights from the from the actual sword and the highlight from the actual skull and then get merged and merge and this just gives you this kind of nice look it gives you a little pink of light on both the katana but also a bit of diffusing happening in the actual skull as well then I have some nice color correction as you can see this color correction is nothing more than pushing you can see here from my vector scopes in my waveforms it was quite compressed there was not a lot of exposure here it's quite dark so I'm just pulling it up for a bit and so I can get a bit more image especially get like this kind of punchiness look get this nice highlight in the back and also the the grass now which was quite dull now it's like really golden and and it kind of it's a very graphical shot of course it kind of looks like it's Sun but it's also looks like it's nighttime it's a bit crazy really but it works really well then I have some nice vignetting another piece of nice vignetting going on here some nice chromatic aberration just on the sides nothing fancy just the chromatic aberration enough to just displace the edges of the screen just to give it a bit more a nice look I did put some called some lens distortion because whenever you do these kind of things putting some lens distortion really helps to sell the shot as you can see here this is lens distortion from 35 millimeter which is nothing more than the lens that I used on the camera in Nuuk then I have some extra sharp at the end and then we have some grain now the way I did the grain is I actually got a plate of grain this is actual 35 millimeter grain that I got a plate from and and then what I do is I grade it slightly and then I do a soft light to actually add the grain on top so you get this kind of a mallesh like almost like it looks like it's the actual grain from the footage I also have a cheeky extra grain on top as well this is again a very stylized comp so and then I render it and the final shot looks kind of like this that's really it really probably this shot really simple shot though as well if you can see the techniques that were used and so I hope you guys enjoyed this video I'm gonna do a couple of more disc instructions from this project while I'm at it and and as always if you guys would like to support and see more of these videos please don't hesitate to go to patreon and for you to find me it would be patreon slash Hugo's desk and if you guys would like to support it with one dollar or more then you can see much more of these videos if you can't support it that's okay as well all my videos end up on YouTube channel yugos desk for free and you can watch them there I hope you enjoy this video I thank you so much for watching and I hope to see you guys very soon bye bye you

Channel: Hugo's Desk™

Views: 31,028

Keywords: Tutorial, Nuke, The Foundry, Grading, Walking Dead, WD, Compositing, 2D, 3D, CG, CGI, FXPHD

Id: vJclHHn8oOo

Length: 23min 49sec (1429 seconds)

Published: Sun Dec 17 2017