Hugo Deconstructs | Homefront: The Revolution | Keynote Shot | Nuke Compositing Tutorial | 4K

hello everyone my name is zu Guetta and this is another edition of Hugo's desk today we're gonna dis construct another shot from the home front a revolution in game cinematic this was an in-game cinematic that I directed last year for fired out smoke together with Will O Connor this might take a while so just get on with it as you can see this is a pretty mammoth shot it's quite big and one of the cool things about this shot is because we had a motion control set with stiller Studios a little chap out to stoller Studios and they're amazing motion control studio in Stockholm and as you can see here on the screens but one of the greatest advantages that we had was because we had the motion control we could really have a sense of having a lot of people in the shot as you can see the idea was to have this kind of keynote presentation done by what we call the North Korean Steve Jobs and the idea was to have you know almost a sense of hundreds of people looking at it of course we didn't have hundreds of people on the set we only had 12 people on the set and we just basically repeated those seven 12 people over and over again so you know with different jackets and different props and different hats and just using the I don't think it was 12 I think it was like 15 people I think it was I didn't remember I didn't really count them but as you can tell using the motion control really helped us with that but anyway I don't want to make this video really long so let's just get on with it so as you can see this is the main script as usual they're usually very well labeled like I usually do I can start with the background so the background is a full CG scene so this was an asset we got I'm just gonna bring in a gam a little bit so you can see this was an asset from an earlier trailer that was them for homefront revolution and of course the acid was from the game engine from the actual game so we have - of course we shade the whole thing to be used in redshift it was all rendered in redshift in 2 and 1/2 K which was the resolution of this project now we also of course here of course we build the all the shaders we had the mandatory diffuse filter we had the refractions we have the reflections the specular lights we also have the emission which was the screen and we also have diffuse lighting and then of course the utilities like the fog which I'm gonna talk about in a minute and this was like a special pass we had which I usually like to do which is basically giving you a fog pass with analyzation and it gives you like a why fog and also a side fog really handy for color correction so this is a specialized past that we did using redshift then of course I have the normal depth pass of course the normals as well for relighting the position for some point position clouds and then of course the MN occlusion if we need to and some object IDs so this was all rebuilt we also had the 3d system I'll get back to that in a minute but as you can kind of see here it was basically a rebuild of the shader so the 3d system really helped us with this point cloud to to do a lot of things we we used it for the dust on the lights on the foreground we also used it for positioning the flares on the lamps on the top of the stage and also we used it to position some masks for color correction so as always using the position pass to have the point cloud is almost as good as having all the geometry inside of nuke with of course the caveat having the geometry inside of nuke is quite heavy not that the position pass is not heavy as well it is heavy as well then of course we did the rebuilders shader like we started with using the GI mat gamma this up so you guys can see a bit better we started with using the GI then we had or raw diffuse with the diffuse and this was the diffused lighting we did the diffuse lighting together with the diffuse use the divide functions and we can divide it then we did some color correction to it some grade some more color correction and then we multiplied it together so basically this was for me to actually control the lighting a bit more so you can see this just pushing out the light before it gets multiplied by its diffuse then there was no refractions on this one there was some reflections the reflections I had just a reflection this is just a little patch that we had to fix on the corner here not much more just a little mistake from CG that we kind of wanted to fix and that was it and then we hit some color correction we also did a bit of glowing this was like a really subtle glow that we used and then we merged it on top just to give a little subtle diffuse of the lights of the stage hitting some reflections and then of course we had the other glow which was a bit stronger also to give you that mimicking of the glows or reflections and of course the both of them together you see that it gives you like this kind of sense that the light sources are actually spilling a bit I always like to do that especially because you pick up these kind of highlights you know bit similar to the little highlights and specters you pick up on the surface of the car and and then this of course got merged into up in top of the GI and then I have my specular light the specular light did I did a bit of color correction we also did some color correction for the stage because the stage was a bit too dull so pushed some specular highlights there this of course got merged together and so the specular highlights go you can clearly see them here on the flags they kind of just give you this kind of nice bounce of light everywhere and then last but not least the emission now the emission of course was just the screen because that was the only material that actually was emitting light and we put a bit of glow on it and then we merged it so that there was a bit of this kind of natural spill of the actual screen and this was of course merged as a plus on top of everything so that you have the screen being merged and the glow just spilling and the glow of course this is a bit too much but don't forget to have a lot of color correction at the end so at the moment it looks a bit stupid but it will look much better later on I'm on the last frame by the way then we had a lot of color correction these color questions were specifically using object IDs so you know I had some I was lighting up a bit of these lights on the foreground also I kind of toned down the IMAX that were on the stage the flags as well I did some color correction on the flags and then the floor itself we did a bit of color correction of or because the floor was a bit too dark so we just lift it up a little bit and then after that we did the fork now this is what I wanted to show you what I usually use a lot using these Antal ization fogs if you just use the DEP pass you have a lot of issues with the edges so I kind of thought that maybe using the fog like that would be better because you then don't have any issues with with the edges so what I usually do is I bring in the fog if there is an alpha channel and pre-multiply it and then of course I grade that fog don't go too far off otherwise the installation gets a bit broken by the actual color correction they have to be a bit careful with the grading of the fog and then I feed this into a mask into a grade node in this case I am using the actual lift the lift because you're just touching the dark areas is normally the best way to do a fog you can also use the gamma but then you're actually putting the fog on the middle on the mid crane you don't really want to use the mid tones for that you kind of want to use the dark tones to just give it a sense of fogginess and as you can see here this just provides a bit of a look of a smoky room you see in here everything is very sharp and everything is very clear and this just gives you this kind of this kind of foggy feeling almost like there's someone smoking in the room and because it is using the depth it kind of kind of gets graded by the Z which is really good so I always use these kind of techniques just to give it a bit more realism to the scenes and if I can't give the fog from 3d of course but normally I don't do the fog in 3d I prefer to do the fog in compositing and then of course I have a secondary fog now this secondary fog is the why fog I like to use the AI for really to give you this kind of sense of atmospheric fog almost like a little atmosphere that is just just on the bottom of the area of the screen and and this again goes in to a to a great note this time I'm using the gamma can really remember I use the gamma back then but you see this is just giving me just the bottom area especially giving me this it gives me this kind of sense of blue tint on the bottom and it just gives you a sense that there is a lot of smoke on the environment because this is a show so it just gives it a bit more realism really that's the whole point there then I have a little extra grate on top of everything and then of course finally the depth now in this case the depth is not done here the reason for that is because we're using a rack focus on the beginning of the shot and so that's why it's not done here there's no effective pass either because the there was no point we found that the shot was so slow that there was no point of us putting motion blur it was the only thing we were getting from the motion blur was it was just slowing down the shot so we kind of didn't do that and then there's a couple of other issues here so this is like just a fix on one of the spotlights we had a spot line on them on the top here then needed to be fixed and so this is a fix for that can't even remember where where it is anymore here you go so these are just some edges and problems we have with this spot light so we fix that little patch there and then it just goes into the scene so that's my first one now the other thing is well here is that then we merge in some screens so as you can see here we have a 3d system and using the 3d system we knew of course using the point cloud position we knew exactly where the screens were in the 3d space of the iPhones and in sin and so then that was exported from the 3d system with a little bit of color correction but a blur and then that gets merged in top of my background so that we can have these screens on top there again this could have been done in the 3d but I prefer to do it in comp because we kind of changed these screens from what client requests so it's always good to have that flexibility of changing that quickly without having to render everything again and then we move on and as we move on then we go into the actual apex now this is the screen now we had a screen rendered in 3d but we ended up changing it so this was an actual commercial that we actually did specifically for this project so if I so this was an actual commercial that we did in CG and this is part of all these like smaller commercials that fire that smoke made to support this brand called apex which was apex is like a fictitious brand that we kind of like it's an apple it's and like Apple if Apple was from North Korea so that's really what it is now this was of course put in on the 3d system on a card exactly by using the position pass we knew where it should be we also have an exposure node now this exposure node is just literally just changing the exposure of the screen as we go for further web you see I have a little curve here I'm just amazing basically making it so it's brighter in the beginning and less bright on the end because the camera was focusing on the hands of the person with the phone so the exposure was set to that hand and of course because the well I'm gonna just show you the body showing you the actual image so if you look at here you see in a normal camera we would be exposing to this area here so of course when you expose this you're exposing to a darker object and so the background image would be more bright and then of course as you start exposing to the entire scene because at the end you have like you know every single thing then of course the exposure just tones down a little bit otherwise it would look overexposed so I was just trying to get a little animation curve going for the exposure just a little little trick just to give it a bit more simulation of cameras really then I had some fog now this is an interesting thing that I want to show you so I have these kind of particles that this was stock footage from can't remember oh yeah this is from the effects collection so if you guys don't know about it you should go and to Google so if you guys don't know you should go into this website it's just called effects elements calm they have some amazing high quality particles and amazing high quality stock footage and the cool thing about this is that they are everything a single thing that they have they can sell you with the red file so that means you're not just getting this kind of shitty h.264 QuickTime you're getting a proper red file with all the dynamic range so have a look at their website and so these two clips or from there from that website and basically the idea was that I wanted to have some dust in front of the lights so I used the 3d system to know exactly where the lights were of course you saw in the position pass we knew where there was and then the idea would be that in front of these big big lamps we would have some dust particles just accumulating in the front and now we're using the object ID of the lamps to cut the the particles so this is the particle layer coming from the 3d system and then I just cut it using the object ID and then I merge it on top then from this moment on I have my lens distortion so I placed my lens distortion here because from now on every piece of footage will be actual shot by in the camera so I'm not and distorting any of that because I'm leaving the camera move as it is so this is NEX R this is basically an SD map for the lens distortion this case it's an 18 millimeter lens on the 6k full-frame on the epic that we used at stellar studios so this is just this SD map don't forget the SD maps need to be free little bit float otherwise you're gonna have pixelization on the actual SD map and this just gives you the actual distortion of the lens which is quite extreme as you can see it's pretty extreme and so once I have the lens Soren then we move on to have the shadow of the dude so we had the main dude on the foreground and we use this 3d we use this actual plate of him we position it on a card because we didn't have access to the actual shadow and and then we position into a cards put it on the scanline render so that I have an alpha channel to use as the shadow frees feet and then I'm using a great node to just apply some shadow on the floor then I have some depth of field so the depth of field like I said was a rack focus I'm using the depth of field with the nice bouquet and then as we move out it becomes of course fully focused and then we bring in the camera flashes on this these are just nodes so just basically when the flashes happened so you can see here from the curve and whenever we had flashes from the cameras the whole thing with flash so I have like a little animation here they all linked together and then of course we merged the dude himself not to do them self came from this plate here so this was a plate and as you can see this is this was the issue the shadow we didn't really couldn't really extract the shadow because the shadow we needed more floor unfortunately we didn't thought about that and so we we filmed this with of course a screen so we could replace we put some markers there this was our Korean Steve Jobs and and then this was or plate that we had from D is a six K epic plate from the shoot and it's with motion control filmed in Silla studios so as you can see it's a very long plate it ends quite far away it looks pretty silly here with my little sphere some staircase on this side but doesn't really matter we only really needed just this little piece and nothing else and then we had a few lights on the back here and this was just to simulate the stage and then of course we had a main light this main light by the way was flashing so we had the flashes of the of the cameras being flashed by this light and that's what we then synced with the flashes we have inside or composite so that was a very simple setup you know we just basically put the table as high as the site should be use the flash to flash him and then put some lights there just to pretend to have some back lights just like keynote would have now of course not gonna go into this right now but we had a substantial amount of rotoscoping in keying that we did as you can see here I always leave a little extra edge so that we can actually treat the actual edge when we are doing the compositing but this was pre made on our pre comps we had a full rotoscoping and key of everything with all the little nice detail of hair and I am going to do a video about the king of this as well later on so check out that later on but you know we started by and pre multiplying it then I did some some spill suppression spill suppression was done by the P X F kill spill which is a really good note I really like it so you completely removed all the suppression I did a bit of a collar edge since we extend the edges a bit because it was a bit broken and then of course a bit of colour correction more color correction work or correction more and more colour correction a lot of calculation even more colour correction now of course these are just color Corrections that we did on specific areas I wanted his head to be a bit darker and then I put a bit of sharpness on him with my little little friend here the log tool in and then sharpen and then log tool in back again and basically so that I didn't have any black edges but still maintain him quite sharp it was supposed to look very sharp on the entire thing then I finally did a pre molt with all the actual nice detail and as you can see the edge extension here the collar edge really helped you get the best out of the edges as you can see here so you basically remove all these white fringes they all go away by using the edge extension and so except that little bit there but I mean it's not a big deal you don't even notice it when you're actually looking at the comp and in this and then of course I have the screen itself so this was yet again another commercial that Fargo smoke made for it was basically a login menu almost like an Android phone but this time with the logo of the apex logo so this is an After Effects animation was done by far not smoke we then of course did a reformat we did a corner pin we did yet another corner pin and it's fully tracked and into the actual screen so we did a corner pin or in tracking so that it would be placed in the screen as it should and then of course we did some stabilization for him because there was a little bit of a shake on him and then we did some pre multiplication then of course we had the same rack defocus that started with the first frame with him fully defocused and then of course at the Adhan and the end he's not almost almost not the focus that was because there was the rack that we had to do and of course the transformation from the lens distortion and then yet more color correction we did here with him these color Corrections of course was just to make him from the bluish tint into the radish tinted the stage hat this became the shadow so we had a few things and then we cropped him and as you can see here I'm just gonna go move bar back here so here we have the shadow then we put the camera flashes and then we finally have him and we copied in the Alpha in case we needed to do some color correction and then we had some light wrap now the light wrap was made by itself using the background quite extreme and then I plussed it together the reason would like wrap being so extreme is because because of the diffusing of the depth field so we had to really do that then as I move forward we had some volumes now these volume rays or actually the lights on the side and so I used a volume gizmo to actually make these two lamps on the side they of course get cut by the object ID of the actual lamps and the result would be something like this you get these two lamps don't forget that we already had some dust particles and they are actually to the elements and then they are tracked in using the 3d system and then from here on we're not even in half way through I'm sorry it's gonna be a long video and from this moment on we then finally get a few people and now I'm gonna go into the end because some layers only show up at the end so this first layer is the first confetti that we have and the confetti is a 3d system is a particle system and that we did this is actually a particle system and done in Maya and so nothing very glamorous it's just the confetti particle system we could have done it in Nuuk you know but we did it in Maya was what we had at the time so just basically a bunch of particles flying they of course to get affected by the same flashes of the camera they get merged in first layer and then as we move on then we get the layer on the side here so these are the the the 15 I think was 1215 people so this is the crowd on the left again we pre Compton pre graded and pre keyed all of this the same idea here we we dispel it we did a bit of a color extension so we could get the edges of the actual really fin fine edges really well really good a lot of color correction to match some blur and then of course we had to come we had to track every single screen it took a long time I can tell you that every single screen had to be tracked in it was really hard but we did manage to get it since so this is our left side I'm just gonna make it a bit smaller and then of course we had or right side yeah same deal here not gonna repeat myself just I'm gonna do this one you see this is our original plate with these 12 to 15 people I think I'm here somewhere please will O'Connor the other director is here as you can see I can't see myself here but I'm sure I'm here somewhere so these some of these are my students from campus I twelve others or just people that were there as extras and as you can see they're looking at nothing we've we've just to have line of sight we've put this little thing on the green screen so that you can actually they can actually look at the correct thing and and they were just cheering and doing all crazy things and of course every single phone had to be replaced because you was supposed to be on the phone and so again we did some spill suppression we did some edge extension and we then put finally the phones in so the phones you can see the same thing on the phone and then we blurred it and we pre-multiplied it and then we merged it on top that was the left on the right and then of course in the middle of that we put some more confetti so we were layering the confetti and then the people and then the confetti and and the people and the confetti so that you had some confetti going behind some people confetti going in front of some people just to give a little sense of depth and so that was then we had the middle people and I think I am here somewhere I can't really tell anymore where I am this is one Brockhaus or cg lead by the way so of course this layer start with the first first phone just put the hands in the first phone and then of course they've evolved a little bit long I'm just gonna go to the middle of the screen here it's starting to be a bit heavy here so then you see the middle section here and then of course we layered some more confetti this time the confetti was a bit more I'm gonna go to the end a bit more to the middle area as you can see we now have a lot more confetti and and then of course we put even more people this time we had another layer of people on the back and I'll show you it's the same deal this building and then edges tension and and then we had finally the final confetti layer which would be on the top top front of the layer then we have this little Toby fix which is from my dear friend Toby Lin back it's basically just a little bit of a weighted blur with a clamp and a grave it just gives you this lice nice diffuse highlights that then get merged together just gives you this really nice touch of diffusing and lighting nice photography thing really then I have my Steve Jobs Ironman great let's call that from Wilco and so a bit of this saturation a bit of grade a bit of color correction and then all this here the spaghetti of things you can see here this is just me doing the final final color Corrections now and I was the one that did the final grade and whenever I'm directing these projects I always prefer to degrade myself and I don't really like the process of going to by slight to do a great because that's just the final image I like to have access to all my masks in all my passes when I'm doing the great because they exist why not using them right so you see here this is nothing more than all my masks and every single object ID in every single little mask that then I merge and do color Corrections so for example here you see that I am called a correcting just the stage and then you can see here that I'm color correcting just the back stage and then in here you can see that I'm color correcting just the people so this is like a really great way to actually color correct and then I have of course only Steve Jobs which then gets cut by the people as well and so that I then use that to koala correct him in place a little bit a little bit more color correction yet a little bit more color correction and then of course the customary middle color correction here because this phone was really strong on the beginning of the shot don't forget we start really on that phone because that's this is really a shot that really respects Stanley Kubrick's one-point perspective and that's our one-point perspective this phone is the starting point phone which if I go to frame one you can see what I mean we start on this phone and then we end on that phone on the center there and then from here I just have those some little little tweaks we're almost there and you can see that now I have my final final color correction then I have my customary vignette my vignette was more to the top area because I at the bottom I wanted a bit darker so and that means that I darken the edges a little bit and I pushed the middle to have a bit more light and then I had a final final color correction that just gives me this nice nice little contrast you know typical final color correction which is just brightness and contrast a little bit overexposed and so that you can kind of ping all these little nice how highlights everywhere which is real always very good so that was the idea and so that is it so now from there we have the flares of course all these flares were done as realistic as I could they are basically rendered pre-rendered using the optical flare from Video Copilot I'm a big big fan of video co-pilots flare because they always look very realistic and as long as you tweak them a lot you always get some nice less flares so you see hi I have I have done all of them separately so I have that flare I have this flare and then I have the middle flare as well and of course they all get color corrected all get toned down and have a more realistic feeling to them and then of course they get merged on top of everything reason for me to merge them at the very end is because I didn't want to affect the color correction and with them and then I have my bit of sharpness the sharpness just gives you this kind of surreal feeling to the whole thing and and then of course I used my log tool in conversion so that I wouldn't have you see you get all these black broken edges and if you do if you do the lock tool in you don't get these broken edges you kind of get a nicer sharpen then I have a chromatic aberration very subtle really just you can only see it on the sides really gonna just show you on this heads again this chromatic aberration is nothing to do with what was filmed it's literally a creative choice and then a bit of a grade this grate here is just a zero zero one of white point the reason I do this is because a lot of times the luma key the luma pictures grained grain breaks if you don't have this you get a lot of artifacts everywhere and so that's why and then I have the luma pictures grain again completely create a choice because I didn't really want to put grain but the whole objective was to just give it a more filmic look so I just really did the settings that I would like to have there and then of course that's finished and then that's the final final version of the shot and that's really it really so apart from the keying aspect that's how we did this shot really liked this shot I think it turned out quite quite nice it has a lot of nice details and end up much better than we ever anticipated so I'm very happy with this shot as I am very happy with this project so that's it for me today I'm so sorry that this took so long but as always you know good shots always take a long time and good shots always have very big scripts so well that was it for me today I hope you guys enjoyed there's a lot of information here feel free to ask me questions in the forum you know below I will will answer as much as I can from every comments you guys make also of course you know please share this video with anyone that you think could enjoy this little glimpse of compositing and subscribe to my channel you guys desk of course in and please support my channel in patreon I would love to have your support because the more support I get from patreon the more it will to have the time to do these videos because as you guys know I'm a very busy director and visual effects supervisor so this is really my little hobby it's a little my spare time thing and I can get more support I know that I can dedicate more time to this channel so please do that if you want and if you don't that's not a big deal either you know these videos are all is free they always end up in YouTube so as always follow you goes desk both on YouTube on patreon and also in Twitter you goes desk follow me my own Twitter as well as you go see Guetta and and I hope to see you guys very soon and another video will come in the next few weeks and hope you've enjoyed this and thank you so much for watching bye bye [Music]

Channel: Hugo's Desk

Views: 8,222

Rating: 4.9527559 out of 5

Keywords: Nuke, Tutorial, Learning, Hugo Guerra, HomeFront, Video Games, Compositing, 2D, 3D, CG, CGI, Stiller Studios, Motion Control, Keyning, The Foundry, Nuke Studio, Red Epic, 4K, Ultra HD

Id: nvGT7dG6qhc

Length: 32min 2sec (1922 seconds)

Published: Sun Mar 26 2017