Introduction to Deep compositing in Nuke | With @BenQEurope

[Music] hello so hopefully you can all hear me correctly I hope so at least and yeah I think I think you do so thank you so much for being here thank you so much for coming to this webinar this is my third webinar for BenQ I'm so happy to have you all here you if you already been on this webinar before you know really how it works we're gonna go through some kind of webinar slash workshop in the beginning and and then we're gonna have some Q&A at the end so anyway let me just introduce myself real quick my name is you go getta and I am the founder of you was desk and I was just like before even I even start I would like to thank so much to Bank you Europe for the invitation and thank you so much also for Bank you for all the support they have given me for all the support they gave to you guys - for all the support that they gave me over these last three years you guys are amazing so thank you so much and also I would like to thank all my patreon and all my students that I can see that they're online there's a lot of familiar faces on the list of people that are present today so thank you so much for joining me once again so I'm gonna I'm going to kind of basically start off by presenting myself for those of you that don't know me I'll be quick I know because a lot of you already know me and and we'll start by a small introduction of myself of my pipeline then right after that introduction is finished we're gonna jump into nuke and do the workshop the workshop should take about 45 minutes and once we finish the workshop I'm gonna go through all the questions now before I present my presentation I'm just gonna warn you that because of bandwidth issues I'm not gonna keep my webcam I'm basically just gonna present my keynote in full screen and I won't be present on the webcam so I'll be back on the Q&A when I'm back on the Q&A I'll turn on my webcam again so let me just start by switching off my webcam like I said a lot of you already know me so I'm not going to take too long on this presentation but I let me basically start off by saying that you know I'm a director and a visual effects supervisor and I'm caught my name is Ubu Gavin I know it's a bit sound a bit weird to pronounce it like way but that's how I make my voice is because I'm Portuguese so that's my name in Portuguese Azuga yeah and so it said I'm a director official effects supervisor I also love to do very strange poses and stupid photos when I go to e3 most of these photos are from here and I'm from Portugal if you don't know Portugal is not part of spine now as any as a lot of people think it is it's actually a separate country in Europe and I was actually born in Porto which is a lovely City would always advise you to visit this lovely city especially because of its sport of wine and because of the historical landmarks as well and I do visual effects visual effects is this like basically and we put glows on things we put sparks on things we put explosions on things which is very relevant for today because we are gonna basically work on an explosion render than you d me so this is the kind of thing we do every day of course this is of obviously a joke I would recommend you highly not to do not to do this and anyway I have a very long experience I've been working for 20 years in the visual effects industry both in film television and commercials in-game cinematics the biggest places I've worked so far has been the BBC Nexus jellyfish the mill fire that smoke and you booze desk which is my own company there is one company missing on this slide show because I haven't updated it yet which is Sony I'm currently working as a as a visual effects supervisor for Sony Playstation that's my latest job really and for a long time I was the head of the new compositing department at the mill for those of you who don't know me I just want to make sure you understand that I do know what I'm talking about I was the head of the nuke Department and I've been using nuke for 12 years so I just wanted to make sure that then that you know so did you know that I have the credentials to back up I've worked with a lot of Game Studios as well and I've worked with all these game studios on multi mati that's kind of my work these days I mostly work on the games industry and my last projects were with Games Workshop and it was with Sony as well and these are some of the games that I worked as either a director or a cinematic director or a visual effects supervisor obviously the game missing in this list is the game that I'm working on currently that's the game that I'm supervising for Sony Playstation I cannot tell you what game that is of course obviously you will find out in the upcoming months once the game gets revealed and then once the game gets launched as well and I also am a teacher that's like my second life and not a secret agent but a teacher I teach on all these different places and so if you ever are a student of these places you can just kind of hook hook up with me and then we can have a chat as well and that's pretty much it and currently I work from home and you can watch some of my other videos on YouTube and I work from home because I work remotely and I kind of found that working in the office was very stressful for me especially because I live in London you know and living in London means that you have to commute quite a lot but you can watch some of my videos about that I have a lot of things about to say about that and this is my desk that's the desk where I am currently right now and this is my desk which is basically yeah it is very tough to commute berrak you're saying that on the chat here it is definitely very hard to commute and that's why I work from home so basically I work remotely I have a network of artists that work with me and this is my controls control center and you basically have you know everything I need here and of course obviously all the monitors are from bank you since that's the brand that I've been using for years and years and also working from home gave me the advantage of having things like this I can have this awesome doom mat for my mouse just look at it it's just it's just so beautiful I really love this mat so it's pretty cool to actually be able to have exactly the equipment that you need so my equipment kind of ventures between color-correction I do a lot of grating a little I do a lot of editorial I do a lot of visual effects so oh okay you're saying that you can there's someone here saying that there's no sound and is it true that you can't hear me say let me know God let me someone else let me know if you can still hear me because obviously someone here is complaining on the questions that there's no sound okay okay so then maybe it's just a localized thing for for him okay cool so as I was saying I jump I have many hats so I jump from visual effects to editorial to grading and that's why I have a write system I have calibrated monitors from Bank you and I have a of course caller surface and and the core of my of my workstation is the Mac Pro 6.1 which has 128 gigs of ram 12 cores you can watch this later you can just check the specs later I don't want to waste any time of the workshop on this backed up backing up that Mac Pro 6.1 I have three Mac Pro's five-point ones all of them completely a kit Maxim they have 12 cores $125,000 for 'men sigh can take out of these bad boys so I'm really expect I'm really looking forward to having them the the Mac Pro 67.1 so that I can continue my thing I mostly use Linux and Mac OS and sorry I mostly use Mac OS and Linux I don't I do not use Windows for work and but so on the other side of my my Hugo's desk that's the other side it's mostly my huge collection of references so this is an advice for everyone here if you ever want to have a lot of references for your work or if you need to have a quick reference for something specific that you're trying to come are you trying to call it correct it's very useful to have books like this like these are works of art of so if you go to Amazon you can have the art of battlefield you can have the art of Uncharted or the art of God war the art of aliens or the art of mafia all these books are incredibly instrumental for my work as a visual effects supervisor director and art director in general because I can just scroll through these books and kind of find references for my clients and I can find things that I need and I also have my little too Telly Awards very proud of them I actually just won three more this year so now I have six of these but the other tree or on the mile I don't have them yet but now I've woman I've won three more gold statues like this which was great with my latest trailers obviously that you saw a very live version when I work I don't have any lights on and because I'm doing all the correction I have very subtle lighting when I'm doing color correction as you can see here the bulk of my pipeline revolves around the PDE the PV and the SW series of Bank you and I use them mostly to have I mostly use the SW as my main monitor because it's a photography monitor for my desktop I then use the PV which is the video series for my previewing and 10-bit so that means I can do color correction with them and I can kind of use them as my reference monitors and of course I have some scopes as well as you saw there the Scopes on the right side from Blackmagic it's very useful to have scopes when you're doing color correction all this is outputted with SDI out not with just desktop this is actually a video card using black magic and like I said I have many videos on my youtube channel you can go and check that thing and so that's of course obviously I would highly recommend you for you to have a look at Bank use monitors not just because this is of course a bank you sponsored stream but I do use them in every my all my productions and the ones that I would really highly recommend would be the PV series for post-production video you know da Vinci Premiere After Effects nuke and then of course the SW series for photography which are very handy because they have HDR and they have Adobe RGB and they have srgb and they have a lot of the necessary tools you need for advanced photography so keep an eye on these monitors and check them out and so that's it for the introduction I don't want to spend too much time on it and like I said and this is kind of what we're gonna go through today so basically we're gonna go through the intro which we just did then I'm gonna just really briefly talk about what the what is deep compositing when should we use deep compositing we can also talk about the nodes the pipe when do we use them correctly together with some regular nodes as well and how to actually use the information for color correction how to use it for point clouds and we're going to do a wrap-up in a Q&A at the end and let's just jump into nuke directly so like I said I'm going to try my best not to move the mouse too fast because I know it's very choppy at the moment but I brought a shot here this is a shot I did for vermin type 2 this was a game cinematic that I directed and supervised last year and this is a 4k cinematic you can watch the cinematic on my website it's just them and I can or do in the Q&A I can send you a clip but this is the shot we're gonna go through today this this is basically a la la vaca live action shot so I can just break up it a little bit from you we have a live action plate which was shot on a motion control rig so this is basically green screen with an actual model and we've put a lamp in the scene so that we could use it as light interaction we of course obviously that keying in rotoscoping that's what this is we have the rotoscoped version and with keying as well and we also have the same thing but from different lighting sources the reason for that is because at some point on the trailer you have light sources from different parts because it's a stormy night so you see the flashes of lightning showing up and that's why you see lightning from the right side lightning from the left side and lightning from the front side it's very important for us too because we have motion control we can just repeat the camera move and that's what we did because also we also had motion control it allowed us to actually do fog passes as well so we had a fog machine on set and then we could fill up the room with quite a lot of fog so that we can kind of like you know adds this on top we basically use the screen operation to add this fog so we could we can add in certain locations more fun but I have a youtube video about this you can kind of check it out we also have like a matte painting setup this is a pre-rendered matte painting the matte painting of course was used in 3d system in nuke and house motion blur baked in from the 3d system this is the original map painting this matte painting was done by David Gibbons one of the mad painters that I use for a long time he was one of the map painters at the mill as well and this is the final map painting obviously this has all the different channels from Photoshop this is a Photoshop file that you can see here directly and and then of course we've placed it inside the 3d system and then we basically use that the trivia system to do some projections and for us to do some camera movement and also to do some depth of field and to do some motion blur as well now going forward we also have rendering so as you saw on this there is an explosion here that we've merged so basically we had that was the plate that we shot and then of course we added a CG explosion to that plate and the CG explosion of course there's other things as well here there's some rats and some flares some heavy grading as well and damn you guys already you guys already have 37 questions damn that is yeah we're gonna be here for a while for the Q&A anyway we also have some renders so these are renders from Houdini Houdini is of course the best application for you to kind of develop some really nice explosions and effects in particles and it's the industry standard for that so we have multiple renders for that we have the main explosion we also have the particles and debris that brillo up like when the explosion happened there was a of course a cloud of debris as well we also have like the basically the photogrammetry model that we shot on set because I used a lot of photos to do photogrammetry not very detailed but it doesn't really need to be very detailed photogrammetry models are just for you for references in this case we use them for references for the explosion and then of course we have a cloud of smoke which is kind of merged and the reason I brought this project today because this is the perfect situation where you should use deep compositing because we have like a cloud of smoke that should be merged on top of that one and then a particle that should be merged as well now normally and this is already going in through them we also have something else here we have some photogrammetry rats so these are rats that were using we used photogrammetry and they are loaded into nuke directly and with the UVs and textures and we use them in multiple locations in the project for us to have them and they were they were lived inside of nuke using the ray tracing and we didn't really model them anymore because they were so much used for background and foreground stuff that we didn't felt that we needed to really have them on very high detail these are highly detailed enough for what we're trying to do and then you can shade them and put some lights on them and as you can see they are really poor quality but when you are a really far away it doesn't really matter because you can kind of get away with it and that's what we kind of did and so the reason why I'm talking about deep compositing is because deep compositing is perfect for these kind of situations when you have particles that need to kind of especially when there's a camera move you know when the camera move is like going rotating or if the camera move is rotating around you kind of have a problem here because then the particles how do you come to this you know how do you put the particles on top but then also they need to be behind how do you have the smoke that is in front but also behind so this becomes a huge big conundrum when you start comping it so I'm gonna gonna just share with you like how this would be comp normally of obviously keep in mind that this has no hold off mats hold out mats usually or the one the way that you use to actually calm these kind of things so the CG department would put a whole dot mat and then you can kind of like you know map the things so you can merge it but in this situation let's assume that the I'm gonna do a really quick comp here so let's assume that the background is this right so that's this little check yeah that's this resolution yeah so let's say that this is the back room because this adds the explosion then of course obviously if you want to comp this you would come probably the debris in top so I would use a merge node input on remember in nuke it's always background first I'm gonna actually do this because you know we're not savages we need to be we need to calm things properly so this is the to the version of the comp so basically and I would have my background my frag ROM and I would use merge notes right so I would have background that's my explosion I would then put the foreground which would be my debris which I would merge like that and I would put another merger node and I would put my clouds on top like this so obviously this works and then it doesn't work as well because you have the explosion here which has no holdouts and then this thing here is every single particle the ones on the back and the ones on the front and the ones in the middle right so you have like a depth between these particles now when you merge them on top obviously this doesn't work because you see these for example these hotspots the the big big lumps of orange that you see inside the explosion they should be behind the explosion and so the way that traditionally we do compositing is that we would get the cg department to you to make a holdout matte so that effectively these objects would not be visible on this render that means the cg artist would have to do holdout mats it would take him forever to do that on all of them and then even more complicated is on semi-transparency like this is a smith transparent volume from unreal from from moodini how do you even do a holdout on a semi-transparent model it's not even possible so when you merge it how do you fix that like you can kind of okay maybe I can do a screen but then it's too smooth transparent but then if I do a plus that's even worse and I mean I would have to most likely you know kind of do a lot of holdout mats or maybe render this in different parts and you know so I would have the foreground part the background part all those kind of things so essentially this would never work this would be a problem for these three renders would have to go back to CG and kind of render this out and again would hold up mattes now in this situation when you don't have when you when you have when you have access to deep compositing you have something very different so in here you can kind of see that deep nodes are different from read nodes you see a red nodes tends to be a square and it has all the channels and it's Aniak SAR and you know as it usually is but then a deep no there's actually not a square it's like this kind of rounded slashed node just represent it that's a deep note now when I look at the explosion rather than Houdini in normal rendering that's how it looks and if I look at the same exact explosion in D you can kind of see that they look exactly the same so if I compare one and the other they look the same if i zoom in they look exactly the same there's no difference between them the biggest difference though is in this so this CXR is a flat to the EXR this means that if I go here I can clearly see that this you see here the difference between them this is a 4k render by the way so it's very heavy of course when you go at the bottom one you can kind of see that it's two gigs right so that's a two gig EXR if you look at the top one that's an 11 gig EXR the reason why it's 11 gigs is because it has deep information so not only it has the RGB values of the image that you see here but if I open up this you have a channel called deep if I open up the deep channel which obviously doesn't look much it just looks yellow and when you look at this you can kind of see that if I over the mouse just look at this area here the area on the bottom there and you'll see that I can kind of see that I have ranges I have like 11 12 14 15 I have like these really monstrous high dynamic range values and that's what the deep information is now to show you what the deep information is and the best way to visualize it is to actually use a deep two points node and I'll explain to you what that is in a minute and but I think that's the best way for you to kind of for you to kind of understand so and let's say that then we have the deep render which is that explosion that we just saw let's go back to the RGB here and I'm gonna put the deep into this node so this node is a node very similar to the node in 3d like if you look at at my list here most deep nodes have their counterparts in 2d so the called a correction has the two d d call the correction the deep two points has the 2 D position two points the deep transformation has the 2d transform the deep crop has the 2 D crop the holdout doesn't exist in 2d and of course you can do it with the merge of course and then you have the deep merge which exists as a merge the reformat has a reformat the sampler doesn't really exist as a node itself well exists but it's not really the same deep to image of course is specific to convert deep to images to 2d and then deep recall or is something a bit different which we will talk in a minute now I need to get get going with this because we are we're running out of time we're always always rushing so keep going with the questions though we're gonna try to break a record here or something we have 43 questions so far just keep going and we have a hundred and six people on our show we have 24 people that left good Riven's not joking with you guys and I am definitely joking and so the way that this works is you put the deep into the deep input and you have to have the camera so this is the camera that came from Maya or eldini or whatever 3d application you used in this case this camera came directly from moodini and what happens once I look at this is that I get something like this I basically get a camera and I get a point cloud representation in 3d of the explosion so of course obviously this has a lot of advantages first of all if you look at this through the cameras perspective it looks exactly the same as the explosion we had before which is great but the reason I'm showing you this is because this is the great way for you to see what deep is like 2d is of course it to the image but you see we have deep information that means we know what's in front what's in the middle and what's behind obviously it has limitations because it can't know what's behind everything because it can only do a projection set up from the camera angle obviously we can't render everything otherwise it wouldn't know what's behind but that's really in essence what deep is every single slice in every single point here it's almost like think of it almost like the image has been sliced by multiple depth blades and so that is why the file is 11 gigs you know the original file which is sorry it's here the original file was two gigs and if I play it back it plays back quite fast of course this is not cached yet it's playing back at around seven frames per second and once it's cached the force it plays back in real time and but if I try to play back the deep file you can see that if I try to play it it's incredibly slow it's only doing two frames per second and this is the major problem with deep deep is incredibly heavy and to play back so that means temper your expectations when you render deep and when you play back deep the other thing also that you have to keep in mind is that deep always should be rendered in 32-bit float this means because it's 32-bit float in not 16 or 8-bit the image is even bigger that means you have more color you have more than emic range but the dynamic range is necessary because without freddy2 bit float the deep information will be gone it will not be there okay so don't forget the file is huge it's hard to play back and this is why normally these days because computers have not even catched up with having this kind of speeds you know because this this is you know for you to play back this in real time you would have to have multiple raids of m2 blades to do that you know it would not be easy because it's too heavy and that the compression of the XR would take too long so normally an individual effects the pipeline tends to be that you render always a 2d version in 2d and then you render a deep version in fact inside Houdini you have that option you can just render both of them at the same time in one go and and the reason why it's so heavy is really because in deep you have those extra values which you can visualize really well when you look at the point cloud like this obviously the other reason why this is cool is because you can now place other 3d objects inside of nuke so you can use the 3d system of nuke to put other particles or to put those rats that I said you know and you can place them inside the image inside of outside the image in 2d that means if there's a rotation going on the deep will take care of it so let's let's get back to this thing again and talking about how it gets merged so I'm gonna now merge the deep renders instead of merging the 2d renders that we had before so first of all I'm gonna get all these particles and I'm gonna put them on the side here so remember this was how I merge them in 2d and I'm now gonna merge them in 3d now keep in mind that there's one thing I need to let you know which I have to make a little change you see there is a deep transform here and the reason sorry another transfer I need a deep deep reformat the reason I need to put a deep reformat here is because back then when we render this and all the renders were done at 3k the smoke was at 3k the debris was at 3k remember these these are production assets so because they are production assets they're not perfect they have some problems and so we have the debris and 3k the smoke and 3k but then the explosion is only in two and a half k reason for that was because we ran out of time back then we were really rushing out this project and we had to kind of reduce the resolution and so you can use a deep reformat to just reformat that back into the resolution you need obviously this is not ideal because I'm scaling my renderer but there's really no other way for me to do this I have to scale it if I want to merge it now the other thing I'm gonna use now here is I'm gonna use a deep merge so if I am well I have it already I just typed it wrong sorry you know I have fat fingers so that's why it doesn't work sometimes so what I'm gonna do here is the same exact thing I'm gonna put the background on my deep with my debris I'm not gonna do it like that because otherwise you can't see it and I'm gonna use another one and I'm gonna use the background like this like this now effectively what happens now is that the result of this merge is like that you see and the result of the deep merge is like that so you can clearly see for example here just by looking at the 2d mode mode merge I'm gonna look up just the debris remember all these pieces of the breed these pieces that we should be inside the explosion when I use deep I now have them inside the explosion as they should so you see if you look at this all the 2d images are on top but then if I look at the deep version the particles are correctly inside the explosion and the same goes for the smoke the smoke which was just on top like this now on the deep you can clearly see a perfect deep render and actually a curved plate merge of the smoke with the volume is like you saw in the 3d you have the volumes there they are there and the information is there so that means nuke knows exactly which pixel should go where that means a pixel can go behind it can go in front and can go in middle I hope this is all clear so far we have we do have 50 questions which is insane and but let me just try to get a bit faster because we have a lot to go through so other things we have here is well that could be very useful we've talked about the deep two points which was the way for you to actually have the points in the 3d system then I believe that we've talked about the deep reformat it's not really necessary because you've just checked deep merge is just like any other merge I am gonna use the deep sample just to show you something so this is of course obviously very good when you want to try to do some color correction in deep so normally if you want to do some color correction you just put a color corrector and you just you know go go ahead here and you want to do a color correction you do it you can do some gamma you can do some highlights you know and if obviously it involves affecting the entire image the maxim thing you can do is you can go to the ranges you can kind of select what is a highlight what is a shadow what is the mid-tone you can kind of get away with trying to merge it but you never really can do a complete deep color correction now on the other hand the deep explosion that I have here can do that so if I for that to happen of course I can put in I can put a deep color corrector here and there is no deep grade by the way there's only the only nodes that you have on deep they or they can be found on this D here and these are the nodes we have there is no other nodes at the moment besides the nodes you can see here so as you can see the deep the deep color corrector looks exactly like the deep the color corrector and it also has the ranges but it has something new here it has a masking and then you have these a/b c/d points now how do you know what this is this is effectively the way you can kind of pinpoint in deep in z-axis what you want to actually call it correct and for that you need to use something called the deep sampler I'm gonna put a deep sampler here and obviously nothing happens when you just put a deep sampler because you see there's like a little dot on the corner there so I'm gonna now go into my position and move this dot around and you can kind of see as soon as I start moving around my surface it gives you all these values there's two things to think about this here you have six samples means that the samples relates to how many blades of information you can find behind a pixel that means for example on the corner here if I go really close here to the side here you see I kind of have because this area here is very smear transparent I only like these pixels here only have three samples because it's a very thin film image so if I go for example to my gonna just show you what I mean I think it's easier to visualize the deep the the sampler here so you see if you look at this and you look through the top view you know I'm just now looking it through that's right looking through the top perspective you see some objects have more deep than others like for example the middle of the explosion is very deep you have one slice - slice three slice four five six seven you have a bunch of slides and in fact if I sample the front of the explosion I would get maybe seven or eight samples all the way to the back but if I sample just the corner of the explosion or just the back of the explosion then I'm gonna have less slide slices because there's not enough information behind it hope you guys are all getting me so that's why when I sampled the corner I only get like three samples and three values and when I sample the front like if I sample on the center here you see I get much more so you see I can actually I think it goes all the way to ten let's see if I can find the highest value and it's just like sweet picky and it's fiddly I'm gonna use the mouse I guess the Wacom tablet is lying right here can I find one with ten plays god this is so well I'll keep with an eight so what does this mean this means that this pixel in space exists very much with eight samples behind it so that means you have eight things behind it if you want to sample it and you see here we have the deep front and deep back now in here you have the corresponding RGB value that you found here and that relates to the values you find on the viewer and then there's 12 and 13 that is the actual depth information so that means that this is the 12 and 13 is the distance to the camera so if your example look at the grid here you see that 10 is this entire distance here so you see that camera is around 13 values from the camera and on the back there is much more further way so these values actually relate to real world coordinates in 3d okay that means that you can relate them in the 3d image both in loudini in nuke it's all one-to-one so when you're scaling things you know exactly where they are so now that I know this that means let's say that I want to make sure I only call the correct this area I know that for example this area is going between twelve point five fourteen twelve point five fourteen but if I go to the back here it goes to 14 and 15 and 16 so I know for example if I want to color correct the front I know it's between 12 and 14 so I'm gonna open up my color corrector and thinking into account those values and I'm gonna go in here and say okay B is the front C is the back let's talk about a and D later so I'm gonna put here 12 you know maybe twelve point three and in here I'm gonna put thirteen point one so those are the values you see here front and back and so now I also have by the way I have to limit the Z otherwise it's gonna have a much bigger range so now that I've done this I'm basically telling him that I only want to correct between these ranges then I go back to my color corrector here and if you see I hope my viewer is on no it's not on so you see now if I gamma down you see I'm only gumming down just that area that means now I'm only color correcting just the corresponding area now remember when you look at it from the top perspective that I was showing you like this remember I said 13 14 12 to 14 that means it's between from here to there you see this is what I mean that that's the top I'm of course looking at from a top perspective if I look through the top perspective imagine that's 14 that's 12 and that's 14 so I'm basically isolating this area here to call the correct I hope you all going with me and you still have a hundred people watching which is pretty cool and thank you again thank you so much for being here also think I'm gonna just shout out to the bank you thank you so much thank you for inviting me as well we do have 57 questions which is fantastic so I hope that was that was clear so now that we have that all sorted out that means I can now call the crisis that area now remember that I told you that never mind a nd so a and D is the extra range for feathering because as you can see here this is really harsh it's kind of cut point on a sample so that means that you what you can do is you can do this you can basically put the same values here and then what you can do is you can kind of like start moving them down so for example well let's say that we do zero like to start on zero on that one but in here we can kind of feather the back so let's say we do it in decimals here so you see if you look closely here we used to have a very hard cut on the color correction as I start doing other ranges here the color question kind of fades in in deep that's because I'm now using a much more fin range for this now once I do that as well you see I can still move this entire thing so let's say that we go all the way to the back here and let's say that we keep going forward with this and I keep going well let's let's sample it sorry we should probably sample it so let's say I want to call a quick the back of the explosion so I'm gonna see okay this is 89 219 so that mean is eighteen eight to nineteen point one and obviously now that I'm doing that I need to kind of be careful because now if I go to my color correction you see now I started not viewing it now I'm basically color correcting you see the whole thing the reason I'm doing color correction on the whole thing is because I have not set a front mask so I'm gonna basically cut my mask in the front there and now I should only call a corrective front I mean just try this out so I'm gonna gamma down I think I went a bit too far on my masking I need to go let's see here let me just open up the masking a bit more because I think I went a bit too far with it definitely went too far that's why sorry because it needs to be 15 here sorry sorry sorry my mistake I didn't notice that a was there so you see here now I'm basically called correcting just the back of the explosion so that means I'm just like now tweaking this area here instead of the front so and I could continue doing that by sampling for example just the middle and so this means I'm kind of color correcting in in in z space so now let's imagine that we go for 14 15 and 16 and in here I maybe I have fourteen so if I do that now I see you see I'm basically color correcting the middle area here obviously it goes a bit bizarre because you need to of course give it enough space for the fed ring otherwise this is not gonna work but as you can see here now I'm color correcting just this area here in the middle I'm not correct correct in the back and I'm not gonna collecting the the front so that's incredibly useful for you to do color correction in z space instead now keep in mind this is distance to camera so if there if the object moves you will not have the same color correction because you see this is distance two cameras so that course OD if the object is moving to the cameras perspective then you lose that frame where you were okay now we are of course time does fly when you're having fun that's for sure we don't have a lot of time left but I really want to show you still another thing as well so here's another thing we can also do we this wonderful world of deep compositing deep compositing of course means that you can also effectively transform things so I'm gonna just disable this color corrector and I'm gonna transform things from here so you see I could if I want to put a deep transform here and what happens here is the deep transform allows me to move this object in Z because obviously you can't really move it to the normal transform because you can't really put like if you try to put a transform node here it doesn't plug in you know it's a bit like the 3d system when you when you try to plug things to the 3d system it doesn't work either so the deep doesn't really go well with to the node so you can't use that one you hit you have to use the DD transform now the ax is wrong you can do things like that super example if I want to move in X space I can just do okay 10x and I'm moving the explosion in X space you see as I move it it actually effectively gets merged with the object as it should the same goes for the Y space if I do a hundred in Y space I can go up and down and as you can see it correctly covers the objects so I'm now you see I'm moving it and this for example this piece of wood is getting revealed in z space so that means that when I'm moving objects in the deep transform I'm moving them in space the same goes for Z if I move them in Z you see I can actually put the explosion in the front of everything if I want to now the explosion is in front look look at the stick of wood here and but if I go sorry that's maybe not the best one to show just um oh sorry sorry about that whatever what have I done here why can't I see it sorry just a second zero okay cool oh yeah I think I know what I did I'm sorry I buy my second did I did too much negative so you see as you go in Z I can actually go into so far then now I'm actually moving this object in z space now the best way to form it for you to visualize this because you see it's hard to visualize here but you can kind of see that it's actually emerging in Z is if I pipe this into my treaty system remember that we had a bunch of things here on my deep so I'm gonna basically pipe into the deep here not just this but I'm gonna fight the the entire thing we just did and so that means that on the treaty system where's the 3d system so now I have the smoke and the fire and the debris you see it's all here and not just and I can even have everything including it takes a while to load up of course remember deep is very heavy so this is now with the smoke of course obviously turning on the smoke it's not gonna really help me is it since I can't see I can't see anything so it's not gonna is it gonna be very easy for me anyway like I said the this is a great way for you to visualize what I'm doing so if I look at it - from the top perspective here so see in the top perspective here what I'm effectively doing with this deep transform is I'm moving my debris like a movie sorry my explosion see if I move it in z space I move it to the front so I'm basically moving it to the front which means it's covering other objects the cool thing about this is that now this means that I don't have to go back to CG to move these things around there's of course obviously a lot of limitations here's the limitations I can move sideways you know like I can see I can move in X I can move in Y that means if I go into the top here I can also move on Y position so that means the explosion is now on the top there obviously the limitations are that you can never do point like you can't do five point five you have to do round numbers the reason you have to do round numbers is because antilles ation will become a problem the only place you can do not round numbers is in z z space allows you to do entrance so that's the only place you where you can actually put a something point something so that's actually the deep transformation for you now obviously there's a lot more than this this is just a one-hour workshop right I mean you guys have to kind of like really experiment with this there's another node that I really want to show you when in deep which is the deep crop and of course the crop is as the name says you can crop things right and so what I'm gonna do here I'm gonna just like put the deep drop and drop crop here and I'm going to show you two different things so oh by the way if you want to pick up the correct resolution you want to make sure you have the stream selected and then you put the deep crop so that the deep crop gets picked up with the correct resolution here so obviously and let's look at this deep crop we have a Z near as if our in a bounding box I'm gonna switch off the bombing box for the moment and the Z near as well so we can see everything so first of all why do we have both like the first one is the actual Z space so remember we've established that the explosion goes from like remember we established the explosion goes from like 12 to 18 or something in terms of Z space distance from camera so if I put Z space of let's say for 14 and Z 4 for 16 this means now that I am actually cropping everything around that area obviously this has a huge problem as you can see it has an Intel is a ssin problem so it's very hard for you to do something that would be cropped on the front you're much more better suited to crop something in the back see see now I am basically cropping just the back explosion so though this obviously has a lot of advantages you can crop it for color correction you can even crop it for masking imagine you want a mask to do to do these you can kind of do that now why do we have a bounding box as well now the bounding box is for you to limit when you want to kill in clip so imagine here imagine I want to kind of only have this part and if I try to do that you see what happens here I can kind of pinpoint it that I know that it's around here so just have that part but now unfortunately I can't really get rid of because I've lost the front you see I've lost the front because of course deep composting is using deep information to know where things are so um that's why we have a bounding box so if I use a bounding box I can now in terms of 2d tell them okay I just want to look at this part okay don't want to look at anything else I only want to look at this part and so now I can pinpoint my crop a lot better so I can now say okay I only wanted that part there and now I have access to cropping just this section obviously on a volume of smoke like this it's a bit hard to use this like this this would be much more perfect for the debris so let me show you what would happen if I can use the debris like this so if I look at the debris and if I put like you know a deep crop here the debris would be much more useful so let's see here we do let's say we do 14 to 16 so that means we can pinpoint a piece of debris and crop it and so let's say that we open up the Z near so if we open it up all it shows all the sticks let's say that we want to isolate this stick right so of course obviously if I start isolating this stick I lose it right away because I lose the front one as well I want to isolate that stick and I can kind of start cutting stuff from the from behind now for me to be able to pinpoint like for example imagine this these pieces is thick the best way would be for me to use a bounding box and I can use a bounding box to just tell them okay I'm interested on that part right that's the only part I'm interested on and now I can just basically start cutting everything off except that part and I can turn on the bite the bounding box and now I have access to just these things nothing else and this is of course I'm cutting in z space I'm not cutting in just 2d space now we don't have a lot of time left unfortunately because this was supposed to be 60 minutes we already or pretty much at 60 minutes we are pretty much on 50 minutes so far and I still want to answer the 75 questions you guys have but last but not least I need to show you one important thing so I would really highly recommend you to to kind of research this more there's two more nodes that I really need to show you for you to kind of understand well actually three nodes I need to show you these three nodes really quickly before we wrap up so this is all very beautiful and everything but of course obviously when I comp I'm gonna just disable these crops and disable these things so obviously this is all really pretty and everything but if I comp this I can now play it back and I can still watch it in 2d and it's not very heavy obviously if I try to play back it to the 3d deep composite it's super slow just look at how slow it is it's running at one frame per second so it it becomes incredibly slow for you to actually comp the swing interactively so here's the three nodes that I want to talk about so one of the nodes is the deep two image so this node is specifically built to convert whatever you've done in deep into 2d that means that imagine that this is now done you've merged everything as you want exactly in space of 3d you call the corrected everything you wanted you know let's imagine we have this color correction on here we have like the crops as well you know like we had everything we wanted to do and then you can put the deep two image and now this image is a 2d image it's not a 3d image anymore so there's no deep information anymore so that deep information is kind of gone and now I can actually put regular to the nodes that means I can now put transforms I can put call the correctors I can put great nodes I can put whatever I want in terms of 2d because from this moment on after this deep to image in node everything was converted from the deep 3d into 2d as you usually use inside of new so that's one of the most important nodes that I want to make sure you guys know and double checking if everything is gonna get the other node I want to show you is actually the deep holdout so the deep hold alt is also similar to a node that converts the 2d so imagine that for some reason your cg artist wants an alpha channel for you to come that requires you to Matt these these boxes by the explosion so what I can do here is that can basic in here and say okay I want to pick up the debris so I'm gonna pick up the debris and I'm gonna use the holdout from the explosion okay so what happens now is you can see now as soon as I activate this the debris gets cut by the explosion in terms of alpha channel in RGB so now this is it to the image it's not a 3d deep image anymore and now I can put color correctors and I can put transforms so the deep holdout allows you to export holdouts that you might do and of course these holdouts could also have deep crops so imagine if you had a deep crop you can crop something you know like like we did here like actually I can just activate this thing here you see we you only have that object and let's just open it up a little bit more I'm gonna just not have the bounding box and and so and so you see my crop cropped all these pieces of wood and then my holdout cropped the smoke in the debris as well and now I can use this as a new render a new alpha channel obviously I would recommend after you use a deep to image to render it to an e XR because it's super heavy now last but not least before we go and I know we didn't went into everything you know this is a huge topic right there's a huge huge amount of things to go through and I don't want to really know in fact I'm not even going to go into this note this note is basically built for you to bring in deep information into to the images so imagine for example this image here does not have any deep information you can basically pick up the color of that and put the deep from the explosion in now you've merged them both so that means that you are merging deep information into none deep information this is very useful for you to actually comp everything imagine you had a lot of movies you see you have a lot of a you of ease here so that means that I could have comped because movies are you don't have a shuffle mode inside of nuclear I so that means you could have shuffled and basically comped all the U visas you wanted and basically you see I have just the law I have just the the smoke I have just the spotlight I have all these different theories and because there's no shuffle node in indeed you can't shuffle out just that pass so what you can do is you can shuffle it out and then you can add deep information into it if you want to by using the deep recolor but this is a conversation for another time and we are really running out of time and I don't want to like really we should really jump into the Q&A we have 17 - questions I hope this was a great introduction for deep obviously I will try to do more videos like this on my youtube channel as well and I'm going to just basically finish off before we go to the Q&A with a little bit of shameless promotion I do apologize for that but just so that you can continue to check how I work so here's my shameless promotion just before we wrap up to the Q&A and if you want to know what I do and as you can see I was doing this webinar today just follow me on Twitter on Twitter it would be you go see Guetta so if you go to you will see ya or you can also go to UGA's desk on twitter and then you know always when I do a webinar you know you can know when I do my twitch streams you can also go to my youtube channel on my youtube channel and you can find all my videos and you could also help me to reach 20,000 subscribers I am on 19 772 subscribers right now so I wish I could get you some help to actually get reach 20,000 subscribers and you also should check out my twitch streams I do twitch streams twice a week currently I'm doing them on Mondays in on Thursdays so if you go to yugos desk on Twitch you can see my streams on Mondays I stream some games so I'm basically playing some games while I'll answer some Q&A is about visual effects so if your question wasn't answer today you can jump into Twitch and I can try to answer it I'm currently playing sell until 1 while I answer visual effects questions I know it's a peculiar combination if you want to vote to my videos trying to help my channel if you want to vote for my videos if you want to vote for the twitch streams also including having access to the nuke scripts of all the projects that I put on my youtube channel in on the two straight streams you can support my channel on patreon and then you have access to the scripts as well and and also just to let you know today I launched my complete new compositing course so if you want to check it out this is the second year in a row that I did it last year we did a hundred and nineteen students and we had sixty hours of video tutorials this is an actual complete course in visual effects I just launched the ten hours ago we already have eight students so if you want to interested on doing advanced compositing with nuke just feel free to join this course in Kickstarter so just go to Kickstarter it's called you guys s presents the complete new compositing course and that is pretty much from me today in terms of the presentation that I had so let's just jump into the Q&A and so there are 83 questions here so it's gonna take a while and I'm gonna basically so first question here for my niche soon are how much did you spend on your workstation setup so Manish my workstation setup was expensive for sure but it's already a few years old when I buy equipment Manish I buy equipment from professional vendors so I would advise you to do a workstation like from Dell or from HP or from Apple these workstation level performance come like these computers or performance workstation level and they last a long time most of my computers you know one of my computers is six years old the other computer is 10 years old and I'm just now about to change computers usually workstation lasts you for like about 10 years so it's very expensive to buy it the first time but then you can really kind of last for a long time exact figures of my setup I would say that probably goes into the ranges of 30,000 maybe something like that and so I have 12 cores on all my machines all my four machines have 12 course that's a question that Barak asked another question and let's see here is there any chat speak yes there will be I have a question here from Dwayne do you ever look at random stuff like clouds some rocks for example take a picture of it potential future references absolutely Dwayne I do that all the time I do a lot of references and I also take photos I III have a lot of cameras and I always take photos I always take a camera with me take photos of skies I take focus of rocks and event and actually this is something that I really really would recommend to all artists on this on this lit is here right now you should always cut it by a camera and take as many photos as possible so Barack is asking the light bulb also adds to the explosion effect yes it does so the light bulb was there to create the light interaction on the tower so that the tower would have that kind of light otherwise would have to do it in CG and it wasn't less just easier to put a light bulb there Duane again is asking you said the two Dini is the best in also industry standard how does think particles on film effects stand up for Dini so think particles and film effects are really good that's for sure but please keep in mind that UD me is by far the industry standard like all the companies in visual effects all the big companies only use adeney the reason for that is because Houdini is a node-based 3d application and that's so much easier for you to customize it's so much easier free to do a pipeline it's also very friendly for pipeline and Python so that's why you Dini is used once a values I hope I'm pronouncing your name correctly it says how difficult is a compositor to jump from VFX movies industry to the video game fields as usually there is nah no not sorry as usual there's now so much job posting for video web companies searching for capacitors so yes that is true there is no compositors on the video games industry but you can use your your skillset in the video game industry the same way they do use After Effects they do use Photoshop they do use to the applications and you can always learn 3d once you are a visual effects artist it's all about pixels it's all about polygons it's all about color and images you want to invest in skill sets so obviously I am NOT working only as it can pass on the video games industry I'm working as a visual effects artist I'm working as a VFX supervisor I'm working as a 2d artist I've worked on many capacities on the video games industry always keep in mind that it's not about the software that you know it's about the skill set so if you learn photography if you learn color if you learn composition you can definitely move those skill sets into the video games industry gun gun say Karan as asking could you share some working footage I could I can share so if you go to my patreon and you support me on the twenty dollar level you can have access to some of the footage of my tutorials so no ham Catan asks what's the difference between z-depth in deep so it's very different so z-depth is a mask it's basically an image black-and-white image that only has black and white figures for where things are in in the z space so it's very limited it doesn't have any information of the pixels behind it now deep has the information of pixels behind it which means we didn't have time to do it on this on this workshop but you can literally put an object inside the render using deep with complete perfect edges and if you use just depths if you just use Z depth you won't be able to do that the same also goes for if you try to do depth of field with Z depth you'll get a lot of artifacts on the edges but if you use deep you don't get any artifacts as well so Julian goes thank you so much for being here Julian great to see you again he asks how you go how do you do DP x r is Houdini is it on the you Dini render parameter parameters yeah it is so you can use the Dini you just need to switch on deep and in Houdini you can also use redshift for deep you can also use Arnold for deep I'm not in completely certain v-ray supports but I'm sure it does I know redshift does I know mantra supports it I know also Maya supports it so you can definitely check that out but it's there should be a parameter in the render engine that allows you to not only render it to the image but also the render it the image okay so then you can experiment a bit with this so Nick Nick L thank you so much for being here Nick L once again so you're asking how is the sequence rendered in deep format is it only possible in Maya no just like I answered now you can render it in pretty much any game any render engine these days and no hand cuttin asks for your regular renders to use 16 or 32 so for all my beauty renders I use 16 because it's more than enough for what you're doing and you do not need for a little bit just for the you know for the specular pass in the GI pass and the reflection pass you should just use for a little bit float for the utility passes and for the deep passes always for those two and Stefan Ryan is asking what are the bottom toolset for you to have sorry what are the bottom tool sets you have on your side menu bar well I have a bunch of plugins that I bought I have like a bunch of gizmos and scripts that I built and also of course gizmos in scripts from Nuka pedia that's pretty much it ok so I'm not really sure what you mean with this 4head 4head asks with point pass into the XR it shows a similar view like this yeah it is white Fahad Farhad thank you so much for being here by the way if I had so point cloud is the same using 2d XR but the deep information allows you to merge into thee in three-dimensional objects so it's more than just the point pass it has the information of the pixels behind those pixels which is the point cloud does not have the information what's behind I think you know I ran out of time on the workshop obviously I should have went through the more deeply I'm sorry for the punt I should go deeply into deep but we didn't we didn't really have a lot of time to go through everything and so let's see so Barak just says incredible thank you so much for that buttock so Andrew a she react says can you feather the wood going into the explosion it doesn't matter for this example but for you future reference if you're talking about color correction you can and if you talk about cropping you can't so the only way really for you to do this would be for you to basically use the holdout mat with some color correction and then you can kind of feather it a little bit and then you can use it as a mask you can of course it's a bit of the hoops to go through it but you need to understand that deep is something very new so the foundry every time they launch a new version if nuclear's more new tools in deep so maybe keep checking it so the onion torn asks what is the best way to deep depth of field and post using deep so the most advanced depth the field note is the PG bouquet from pella greens so sorry peregrines so it's called PG bouquet that is by far the best step to field note it's a plugin you can buy from nuke and it's called PG bouquet okay try to find it on the web it's really powerful and okay so nickel is asking can deep compositing be done in nuke or just nuke X that's a great question I actually don't know I believe it can be done in both nooks but maybe I'm wrong maybe someone else can answer that but I really do not know if it's only you just go to the web site in the foundry we'll find out probably and let's see here Jonathan Jonathan Jaco yak asks or deep files just another pass on the XR or an entirely file different yeah so a deep pass is a different T XR so basically you have a 2d XR and then you have a 3d XR which is the deep they're both TX ours but you have to render them separately you can't currently merge them unfortunately and let's see here then prayer asks is it possible to create a deep image starting with a 2d image plus a Z depth it is possible but it won't really give you a very accurate result okay just so you know so Michelle's ask Seychelles asks can we use position world position to create mats for CG yes you can but you can use a no the new key PD a called P mapped so just sure search for that but remember position passes are not deep information so it's not the same thing okay deep information is different from a position pass but if you go to Wikipedia you can find a note called the pee mat now so shall you you follow me on patreon and you can definitely if you can't find the know just let me know you can just drop me a message and I will try to send you the link I me I mean um same diet I'm sure I'm pronouncing your name wrong I'm so sorry for that it says he says it is easy to understand you can go deeper in the comp look at that he's making a joke this is great we have listeners with material listeners with material that's always great so Julian goes asks is there a scale adjustment or something like that to match distance if you are calm a life shot where you know the distance in meters or feet no unfortunately there's no meters or feet inside of nuke it's all values so you can just think about it and it's just you can either choose to be feet or you can choose to be meters but you just have numerical values on a three-dimensional space of nuke so I tend to think of the numbers as meters and then as long as everything is measured by that range it matches so because it's a numerical value you can use it as meters that's what I do as well Stephan Ryan asks can you bring VDB files and add volumetric cloud smokes to create additional atmospheric effects you actually can't do that in nuke but you could use that in a plug-in for nuke it's a plugin called Eddie and it has the ability for you to read VDB files I have never used it though and it's very expensive as well the plug-in itself is almost expensive more expensive than nuke itself so damn young torn asks would you use deep color corrector node and the rangecontrol to create atmospheric distance fog I guess I could I could use that to create nuts atmospherics but actually to grade the 3d in a fog at most a fog like color corrector for sure that would be possible I definitely have used it for that cool so Julian is saying thank you so much for the clear in deep explanation of deep compositing ah Julian look at that thank you for the deep in clear explanation of deep Julian also has some material I love when or my viewers have some material and they make some jokes that's perfect okay cool so route says thank you so much the session was very informative thank you so much for being here and let's see here John Castillo says thank you so much for demo really appreciate your streams and everything you do for the people trying to learn improve compositing oh thank you so much John really means a lot for you to say that thank you so much John and maybe you know thank you so much for that and maybe you know you can tell your friends about my streams and tell your friends about my videos and then they can also join the fun as well this is a strange question so nickel asks what headphones are you using so I'm gonna just take them out so the headphones or the I can't pronounce this thing so it's called by your by your dynamic and it's the DT I hope you can see it I don't know if you can see it I don't think you can see it no it's basically the bio dynamic it's called DT seven seven zero pro and those are the headphones I use they're really good really high quality so Manesh soon are asks have you done deep rendering using redshift I have yes it's very nice this is the last project I did which I can't show yet was using that so Olaf is asking you go will you visit war so hello although I laugh I know you all up thank you so much for being here I haven't talked to you in a long time olive so a life is asking would you visit Warsaw this summer and have a good beer and I think so I usually go every year to to war so I hope I go this year again so I definitely can will I'm most likely well Pablo Ricardo Ramos asks how many captured photos that you need to create one character for the rat so we basically put the rat on rotation so like you know these these wheels that you can present objects or you can do you can just rotate so we just put it on the top and I think we took like maybe 10 to 15 photos all around the rats so that so that we can get photogrammetry it worked really well so Roomba yawn which is one of my students from Paige from Kickstarter thank you so much for being here Joe and asks how ty how time did take to do that work how much people work with you so this project the vermintide project was done with four people we basically had three three capacitors now five people three capacitors one CG artist in one Mac painter that was it so it was only five people and it took us three months to do that project from the day we shot until we delivered so it was three months delivery we had ten shots and we had three minutes long cinematic and okay so that's a really broad question so I have a question from an op what are you or your tips for upcoming compositors I don't know man just learn your photography learn composition read Steve Wright's book so if you can sorry I match to this thing you should always buy this book where's the book here we go this is the book you want to buy and this is the book this book is called digital compositing for film in video from Steve Wright Steve Wright is a legend is one of the best composers in the world and you should read this book this book is really going to help you so that's my first tip there's many other tips but I'll have to limit my tips for now and let's see here I need to kind of like go through this thing so all off is saying great presentation thank you so much I laugh a lot of people here thinking for the presentation I thank you for being here and Barak asks is it for Arnold only no it's for our load wet ship there's a bunch of renderers mantra it can do it as well political DoCoMo's asks just looking firm the 3d rat characters are created using new yes so basically I did photogrammetry on them not inside of nuke I use the photogrammetry application to the photogrammetry and then I move the geometry and the texture into new and so let's see here Boris is asking does it take longer to render deep from moodini yes it does so deep information is longer to render it's heavier to render it's slower to come everything is worse but you get so much more out of it so that's the thing most visual effects companies use deep so if you look at ILM Dean egg cream sore everyone uses deep as well and let's see here so I met Barack asks can deep needs to be Freddy two-bit float yes it does unfortunately I'm just gonna jump a few questions sorry you guys we need to kind of wrap up so I'm just gonna like jump a few barack is asking what our utility passes so utility passes or what we call the ZD focus note like the z-depth the normals pass the position pass the object ID pass every pass that is not part of the beauty every pass that is not part of the image that you're rendering which is a support pass like the depth pass or the normals pass would be called an utility pass and so you want to make sure you render your utility passes in pretty bit float and then render your beauty passes which are the normal renders in 216 and so but abaya tasks do effects artists need new compositing yes they do like this is an advice for every 3d artist in this chat if you are through the artist you should know new the more we go the more it gets merged like these days nuke and 3d is merging more and more so if you're a 3d artist you really need to know nuke because it will help you so much to pre comp everything you have you know and let's see here other questions so I have Robyn's rush right Snyder here asking how you go did you use redshift in Houdini renders for your vermintide project did you use another render so for this project we used mantra for this render okay Phillip is asking or there still benefits using Z depth position normals compared to deep well there are advantages if you have a fast turnaround project if you have a commercials for example project imagine if you only have a one week to do things you might you just want to do deep Z depth and position and normals then deep because deep like takes longer to render its heavier to comp it's gonna introduce a lot of problems on your pipeline you have to have a good pipeline so you have to be careful with you need to choose the best tools you know and so money is just thanking me for the workshop thank you so much for that as well I have antonio saying thank you obrigado obrigado Antonia as well and David saying thank you thank you so much for you David as well let's see an cut asks how you go is it viable to have a deep image as a background instead of a rendering the whole sequence for a moving character with the camera move for example just render one deep image of the background it doesn't really work that way because then you would have to project that deep image into the background in 3d system I don't think you can get away with that you probably have to do the whole thing unless you're talking about a static camera if there is no style if there's a static camera if the camera is not moving then you can use it still of course Jonathan says thank you so much for the hardware one more thing what hardware do you care when most on getting a new computer is it Ram or GPU so for me personally it's RAM the reason I use Ram more than GPU is because I'm a 2d artist right so a 2d artist when using nuke After Effects Photoshop Final Cut Premiere all those kind of DaVinci you want Ram you need a lot of RAM and that's why I have 128 gigs of ram on my machines which is the maximum you can have and I can't wait to have 1.5 terabytes of RAM on the new Mac Pro can't wait to do that and let's see here and Michael is asking any plans to go to India I have been in India already I've been in Mumbai for for a week and I presented in Mumbai for several companies but I would love to return I would love to return yes so maybe we can talk about that separately but I would do love I would love to come back I had a wonderful time in India it was a beautiful place and I really would like to come back and so Robin is asking what did you use the photogrammetry version of the tower 3 for exactly so the photogrammetry of the tower was used for the explosion because we needed the tower intact to actually explode the tower in the explosion and also the photogrammetry the tower was necessary for me to actually block the explosion so we had limits of where the explosions would hit so that's what we use it for and Olaf is asking I wonder you use an SSD - SSDs right:0 or nvm to disks for good cache I currently use a rate system using I have like a main rate system which is a thirty two terabytes with normal hard drives and they're all rated it's a nine hard drive rate so it runs about seven hundred Meg's per sec and then I have a separate four blades em two blades so it's basically a box that has four blades of m2 s and that's the cache that I use for nuke so I get about 3,000 Meg's attack on that caching and so Andrew asks more important books okay so here's of the book this book is also very important the visual effects the visual effects handbook and this is procedures for general vex should definitely check this book out it's really important and the books here let's see here it is alright I'll finish off there's a lot more books I have a lot of books here another book I should really recommend from Ron Brickman Ron Brinkman has this book called the art and science of digital compositing so he knows a lot about compositing so I would say that these three books this book the visual effects society these are really heavy and Steve writes books like that I can now do some push ups so have you this thing it even makes it nice when it comes out so the yoga saying do use SSD Reds no I already answer that I use em to raids and Paulo Ricardo says thank you thank you so much for that and Barack says a uvs yes that's what I call the till it passes in new movies and Marco Alan Carr asks what is the criteria for using deep compositing rather than 2d comp only with Z in production pipeline that criteria is this Marco if you have a lot of compositing to do with a lot of elements like if you have a lot of particles a lot of smoke a lot of fire and especially a lot of atmospherics you really want to use thee you don't want to even care about anything else because using a lot of particles and fire and smoke and atmospherics without deep is really painful okay and also if you have a very large scene it's very important to use deep for example if you look at all the films you know latest Avengers if you look at Star Wars if you look at all the game at Ron's they all use deep because of this okay so she one says thank you so much the webinar see you tomorrow on twitch yes you will see me tomorrow on twitch Diogo says thank you so much so then asks thank you so much Dan says thank you so much thank you so much for youth as well but access thank you so much um okay I think that's okay so one I have one last question here Caspar asks what you say the difference between run Brickman's book and Steve Wright's book so um I think here's my my point of view on this so run break-ins book which is really heavy Ron Brooklands book is a much more general book about to the and compositing right it's like a generalist book it's almost like a more suited for beginners it's it's gives you the idea of all things to thee Steve Wright's book is much more technical much more in-depth so it's like a second stage you should probably start with Ron's book and then move to Steve Wright's book and it also check Steve Wright's tutorials and Steve Wright's videos as well he's really good and what's the so Barak asks what's the brand the boxes the holds the four blades oh man I can't remember that I really don't remember that maybe but like maybe reach out on Twitch because I can't leave my off my safe now the blade is on the back there I can't really go there now in check so maybe reach out on Twitter or in twitch or reach out on Facebook and I can maybe answer you that and and I think I'm gonna I think I'm going to wrap this up Jonathan is just saying make a video about your favorite books Jonathan I have that plan but I'm so busy I'm always busy with work so it's difficult I'm gonna wrap up this with one final question from the yoga Gardens so do go Guardian says there is another comp or King with deep like fusion in flame that is true you can also do deep compositing with flame and you can do sorry you can do deep compositing with fusion I'm not completely sure you can do it in flame probably you can I'm sure you can I'm quite sure that flame supports deep I'm not completely certain but I'm sure it does but I know fusion does so I'm gonna wrap up through that for now because I don't want the you know bank you folks to be here forever thank you so much for all these questions I can't believe we had a hundred more than a hundred questions we also had hundreds of people here today and we ran for almost an hour and an hour and a half so I would like you all to you know follow me on all those both platforms that I told you just keep an eye if you have any more questions just jump into twitch jump into Twitter or tour twitch or or sorry or Facebook and ask me again I would love to see you on my course so if you want to join my Kickstarter course please do and and also of course please join me thanking everyone on Bank you for making this webinar possible thank you so much it was wonderful to be with all of you and I guess I'll see you on next time so thank you so much and I'll see you later good bye everyone have a great day and I'll see you on the next video okay goodbye [Music]

Channel: Hugo's Desk ™

Views: 56,079

Keywords: Deep, Compositing, Nuke, Hugo's Desk, Hugo Guerra, Foundry, 2D, 3D, VFX, Visual Effects, After Effects, Fusion, Flame, The Mill, FXPHD, Deep Renders, CG, CHI, Artist, Art, Digital Art, Hugo, NukeX, Nuke Studio, Houdini, Explosion, Particles, RedShift, Mantra

Id: 4YgCJbEVDFo

Length: 84min 4sec (5044 seconds)

Published: Thu Jun 27 2019