Nuke 102- CLASS 3- Advanced Keyer: Top Dog Industry Keyers

all right so this is a class 3 nuke file and we're going to talk a little bit about Keers now this is an advanced tutorial but I want to make it available to even beginners in the sense that I want to introduce you to a little bit of the most famous ke uh the big top three obviously are primat and of course there's the other one key light and finally there's the dynamic Duo IBK Gizmo IBK color so these are the biggies right here uh some people um do prefer sometimes to use ultimat which is another one which actually can uh basically take out any webbing that would be involved in uh certain areas around a character um if you're trying to create a corat and so forth so it does give you some really cool results it's a little bit more complicated but the big ones are primat key light and these two these two are usually good for Fringe mats or commonly called Edge mats as well and primates are usually good for core mats or kind of hard uh cores that we're going to create which is the center piece that fills in the Swiss cheese holes of your atypical key so let's go ahead and just kind of poke around with a couple of these here um let's go ahe and start with key light all right so I'm going to go ahead and take this footage of Jessica and we're going to go ahead and plug it in as you can see have a background outat inmat Source I am not going to get in heavy detail to any of these um because I want you guys to go straight to production when I started in production and game design uh I didn't have like Theory or ideas or you know maybe you could try this with this you know maybe this will work I in production you literally are thrown into the lion's den and you got to fight off The Lion and that's just basically the process of production and we were given templates and and you know best course of actions that you could say are very linear with not many options but for the majority of the sake they work so I will be introducing you to the Uber key which will be a templated uh key which will have all of these sort of uh pieces but just to be aware how the mechanics of these work I'll just go ahead and put in Source here to our footage and there's plenty of tutorials on YouTube um in regards to um learning about this I'll talk about them a little bit later but I'm just going to go ahead and put this into the viewer and here you can see we have our scene here and you can see if I go ahead and slam the gamma we have a variation of luminance in the green so you can see we have a variation in say uh you know the actual luminance it's brighter over here it's a different value so if I were to click control click you'd see the values of red green and blue are different than here this is like 72 in the green it's 05 here it's 004 in the red over here it's 02 in the red over here and over over here it's like uh 06 and over here is like 04 in the blue so there is a variance in color information uh between these two areas so key light is good for scenes where there's a lock down camera and you don't have the camera moving a lot where the background plate would actually change uh so if you have a lock down tripod shot where the person's just walking along and the camera doesn't pan or tilt or Dolly uh this is probably the best tool to use sometimes for hair detail um but again you can get this done as well with certain situations with IBK uh color and Gizmo which is the most popular of all the key so I'm going to take the key light and click the little screen color here and I'm going to go ahead and hold down shift and control and you can see how it starts to do the Disco here where it goes back and forth and I want to hold down control and ALT and click if I hold down shift control and ALT this is on a PC I'm sampling the original image if I don't hold down that I'm going to get this and sampling the sample so I don't want to do that I want to make sure it's sampling the original footage and ignoring what has been changed so I went ahead and sampled this area and usually you want to sample area that's very close to the wisy hairs and now if I hit a for Alpha you can see we have a pretty good reality here you can see the difference in luminance it's all based on the pixel value that we chose here so whatever the chrominance value RGB of uh what we chose here is what it's keying and you can see it just degrades over here now if we choose this area over here you can see it does a really good job but we might be losing some details remember you can win the battle but lose the war when it comes to keying um you want to have that yucky Mucky motion blur and you want to have these fine wispy details so you can see just by poking around again I have hit a for Alpha to look at my Alpha I can kind of choose something that's a good middle ground but one thing you notice if I go over here and go oh that looks good you'll notice I've lost detail in the hair over here so if I click over here you can see I've gained this extra strand of here so this is going to require uh a little bit of uh finessing so I'm going to get kind of close here and you can see I've got all these nice hair details and at this point we can go ahead and just do a couple things such as screen gain which is going to kind of pump that up just a little bit you can see it's starting to eat away at the hair which we don't want we don't want to Tamper a lot with keys I know that sounds kind of weird but we don't want to get too crazy and then the screen mat we're going to go ahead and click that open and we can click click the black and we can clip the white and you can see it just becomes a crunchy nasty Edge so as these two come closer to each other is black gets closer to White these two bars uh two little knobs get closer you're crushing the values you're basically saying anything of a value of 2.95 and the RGB or higher is being turned to pure black and with the white anything lower than 5.95 is going to be turn into white and it just crushes the value you lose you win the battle but you lose the war and you don't have all those fine details so I'm going to be very careful with this and maybe take the clip black and just inch it up just ever so slightly now there are other tools in here which are used here and there like screen softness you can see it just softens The Edge a little bit overboard and you can soften that up if you want if you're getting sort of stair stepped edges um and there's you know dpot black which just kind of kind of does an erosion you can see you're getting these very strange shapes here uh again heavy tampering is is something that you don't really want to do too much in this case we're just dealing with uh actually getting the cutout mat I'm not worried about destroying the image here so uh with that said we have this piece of key light that looks good this this portion here actually looks very good now what you would usually do with this is do a region per region basis when you're dealing with key light and again it's good because it's on a lock down camera so I'm going to take this key light paste it put in my source and I'm going to go ahead and come in here hold down shift control and ALT resample my actual uh color and I'll go up here by the hair up here right so this is I'll go ahead and label this call this top head I'll take this key light go into my node and label this uh you know uh right side which would be camera right where we're facing and I'm going to go ahead and paste another one of these babies come in here and again choose my color and again I'm going to get close to the edge here let's see if we choose see it's very we got to be very careful here there we go so this would be more of the top left so I'll go ahead and call that top left there we go and last but not least maybe we should hit up this corner at the bottom so I'm going to go ahead over here put the viewer in here again change the information I'm going to choose and get this area right here look at all the detail coming back the minute I kind of punch around so this would be the uh bottom left okay so let's start to combo these with a key miix or so here is a key mix and what we're going to do with this is I'm going to go ahead and put this to b and a is what we're going to keep or uh in The Mask so a is what's going to be revealed in The Mask I'm going to go ahead and hit the letter O to make a roton node and this is the top of the head right so I'm going to go ahead take this Roto node and let's go ahead oh you know what I had the gamma on while I was doing all those checks let me go ahead and double check my results here okay so that's the top head that's the right let's go ahead and maybe refine that a little bit another thing we haven't done is actually denoise our plate which probably be a good idea but I'm not going to do that just for the sake of this demonstration and so we have this right side and then we got this top of the head right so it looks like this area so I'm going to go ahead and do my best to grab this area here I'm going to go ahead and hit the letter b and add a slight blur to this Roto there always should be a blur on all your rotos so a is basically being added to B so anywhere else is the B input anywhere in this Roto will be whatever is an A so if we put those together you can kind of see the difference here and at this case I can go ahead and come in here and maybe extend this out here right there so you can see the blur we don't have a blur there the transition can be harsh so if I go ahead and put this blur down to nothing you can see you got that harsh Edge there right so I'm doing this kind of quickly by the way just so you're aware um so on top of that you're daisy chaining here so you take the input of B and now we're going to add in this here A and let me just do one last adjustment here to this Roto but it's region per region basis right so I'll go ahead and get and let's go out that far there we go what the heck we'll Crush some of these values a little bit later if we need to all right so then I can here once again we'll take this key light we'll add another Roto mask so hit O Copy and Paste this blur plug that in plug this in and this is of course the top left so that's this little segment right here so I'll go ahead and throw that in there we go and it looks like this key could probably use a little bit work I'm going to put my viewer do it and just come in here and kind of get the best result I can but still maintain those hair follicles it's going to be a little bit tricky see The Closer I Get yeah we're going to lose some of this data regardless okay so that being added on you can see there I'll go ahead and just extend this out again I'm just this is probably not as optimized as you would imagine okay and then we have the bottom left right which is this area so again I'm going to take another key miix paste it B input a input o for Roto B for blur or just copy and paste this blur plug it in mask it and this Roto I'm going to throw down to this area here there we go so it looks like it only got a hold of this area right here and I can keep going with this right so I can say okay um this area right here I'm probably have to do a separate key for I'm just being very careful to do very light keys on all this so I'll just make another one and this will be middle left so we'll do middle left and we'll put that in and we're keying based on the luminance change chrominance change for each individual area so I'm going to just hit this key hit shift control and ALT click the little problem child area that I want to get get as close as I can before it starts to get Goofy on me making sure I keep as much hair detail as I can again copy paste and you probably wouldn't use this many you know uh key lights sometimes you would obviously and this is where IBK Gizmo actually does a lot of this stuff for you in autopilot so I'm going to go ahead and copy this here plug it in and let's go ahead and take a look at our last viewer I'll look at it here and then I'll just just add in this area right here so I'm just kind of adding in little areas here as you can see and again I'll just kind of bring this to the best I can now obviously this will have to be animated if if it needs to be animate obviously if because the camera's not moving you probably could leave these static um but if the camera had to pan or something you'd have to animate it so in general I can come in here and create a merge node and we'll go ahead and create a mask so again I'm going to hit o for Roto and I'm just going to come in here and mask around and make a garbage mask around our character as best we can and we're going to have better robust ways of doing this later by the way and again I'll just copy paste this blur B input a and we are going to set this to mask so there we go we got rid of all the gunk on the outside uh at this point we can hit the grade node and come in in here and maybe crush the values a little bit here we can come over here and play with say play with the multiply again you want to set this to Alpha by the way so make sure this grade node is set to Alpha and I can just come in here and just start playing put my viewer to it playing with certain options here you can see I can play with the gamma which will kind of eat into my um thing here a little bit I could also come over here to my blacks start to crush the values just a hair and then of course you got uh you can try multiple it's not actually it's not going to do any good unless you have a white clamp so again just a little bit of detail you can see if I do a little too much I'm going to start to lose all these fine here details but sometimes there is a compromise in that so now that we have an actual Alpha here I'm going to go ahead and use a copy node like this and we're going to go ahead and bring in the actual footage itself so I'm going to go ahead and take this and put this as the incoming RG GB information and then the a is going to be the actual oops I'm sorry yeah that's right a is the alpha information and B is the RGB information and we're basically reformatting what is RGB and what is a so if I go ahead and plug this through to the original image like that and we can go ahead and hold down control and make a couple do nodes to kind of come around to the opposite side here there we go so now you can see if I take a look here's the original footage hit a here's my Alpha and I could pre malt this so I'll type in make a pre malt so I multiply the alpha by the actual um RGB so it cuts it out and there you go now just by looking at this you can kind of go and say wow um this could use some you know come into grading here and crush the uh you know this area but we have so much of this green here in the actual object and if we were to say put this um on a background if I were to go to my constant here and let's choose a color here let's choose something like oh I don't know something brownish like that and if I were to merge this B for background a for a top you would see that we got a green halo around the character now the key light is actually good on its own as a what's called a d Spiller and usually within Keys we have the area that key out and we're not worried about the red green blue information and then we have the area over here which would be dealing with d spill which is getting rid of the green out of the uh Reflections because a green screen behind this actress is not only going to cast green on her face around the edges of her um around her hair um it's just going to pollute it because it's it's light it works again it bounces around like photons and just you know white areas absorb or uh White areas reflect and black areas uh absorb so you're not going to see a lot of Green in her uh black shirt but you will see it probably in her face a little bit so key light on itself actually works as a good D Spiller so I'm going to come over here plug in my source and I'm going to set my screen color on this one to one for green and voila we have taken out the green spill now usually I come in here with the alpha bias of the red CU her face is red and I'll bring this up to six okay you see as I do that there's there's more green being taken out of her face and also her hair you see the difference see that just by bringing this up one you put this to maybe 0.55 if you want you don't want her turning into a um a strawberry or a blueberry which happens as you kind of fiddle with this stuff a little too much you can see she's starting to tur into a blueberry if I go to nuts so having a alpha bias of 6 I find is a good kind of balance again if you need to push it you can still see there maybe some green tinge in her skin and that's something you get through using maybe a hue correct but we're going to get into that later lesson so this would be the redefined uh RGB okay so we're going to go ahead and plug that in notice that the background information here is unbelievably uh actually um ridiculously dark right so we've lost luminance because we've basically taken the green Channel out so one of the things we can do with that is actually come in here and use a merge node and we're going to extract uh by clicking here for a b right here and we're going to extract a minus operation so hit minus the green information this is the green information that we tore out of the scene okay so you can see there's a lot of it in around her face here in her teeth because her teeth are reflective and along here and here you can see the the shirt isn't doing that cuz black absorbs uh a lot of the light coming and bouncing around so with that now I can go ahead and hit M for merge I'm going to hit sat for saturation I'm going to come over here take the saturation bring that down to nothing so now it's just black and white information but it is Luminous information that we lost and we're going to reintroduce that by putting a merge note from B to a we're going to set this merge node to plus and now we have readded the missing luminance information but yet she is not green so there is our final commonly called the D spill or the red green blue information and this is our Alpha information we merge that together with a copy node and now when we merge this together we have a nice looking background now um I don't want to jump any further than this because I obviously want to get into the other tools such as the Gizmo um and the primat but a quick fix for the fact that this hair is gray because the luminance values are different um and also the color is different is you can kind of cheat this by going back to say your key light and adjusting the red color influence so usually I put this to 01 on the D spill and as I start to increase this go back to the actual image here and just see what we're doing you can see as I do this I start to reintroduce a little red so that it's actually changing to match her hair color see that I'll go to the plus sign just so I can see you know everything together here but you can see the difference here you guys see that now again I can really push this if I want to by dragging this pretty high and this might start to change her skin tone but this background image is matching to her hair as you can see so again there's a lot of things you can do you can also come in here and bring down the intensity of the mix here but I just want to show you by making some slight alterations of the color information I can go over here to this merge node now it's matching up a a lot better as you can see U we still have a you know color differentiation here between what is uh the back plate and what is not because the information of the the gradient of the alpha is still showing the back plate what's behind her which is all determined by how we actually did our D spill so you can see we've matched her up pretty good and if I just go ahead and scrub through obviously in this circumstance you always want to put your viewer to the last merge note and put your second viewer to the your original plate you always do this you always always go back to your original plate you you want to go back and forth look to see what you lost and you can see we lost a ton of information here so you can see here we've got all of this information here that's been lost oh my goodness how do we get that back well again it depends on the key that you're using um one last trick I learned from my good friend uh working in the studio was where you actually color correct the background plate okay so this right here let's go take a look at our background play here it is right it's just this stupid constant right what you can do is actually put a grade node in on this and what you can do with this is we'll go ahead and take a look at her hair real quick I'm going to hit r g and B and we can see the green channel is where we get the highest amount of contrast right so I'm going to do an old type of keier which is called just a regular ke so these are used a lot in kind of pulling out um luminant space Keys as well as ground Shadows so I'm going to go ahead and put that into the original plate and I'm what it does is if I put this from uh you know we're not going to deal with luminance here but I'm going to go ahead and put this to uh based on green key right it basically takes the the green Channel okay and floods it in to the alpha so if I go ahe and take a look if I hit a for Alpha you can see what we have here so I'm going to go ahead and crush the values a little bit in here and this is basically a gradient uh of the values from 0 to one here we go now we also got to invert this so I'm going to invert it and let's see if we can play with this other bar you pull out this other bar here and it's kind of clipping that you can see it's going to be very hard to extract this all these fine wispies but we're going to grab whatever we can and the white is the area that's going to color correct so I'm going to go ahead and make a DOT node here so we can extend this bring this down here and and bring this baby all the way down here there we go and I'm going to go ahead and plug this in uh before I do that I'm going to go ahead and add a mask so I'm going to merge this because I don't want to color correct everything so this will be the incoming uh image and then the a will be a mask or a roto that I will create and that Roto will be only around the hair areas in this case I can only isolate this area for now I'll have to do individual keys that are just like we did with key light based on the luminance of these different different areas but I'm just going to use this area for an example I'm also going to grab one of my old blurs here and paste that in there we go that way we just have and I'll put this to mask so now you can see we just have this area cut out and I will use this as the mask for the grade for the background so now you can see if I take a look and I'll take the grade and start to multiply this down look at all the hair detail that has come back in that little area there so now I'm going to go back to my merges my original and my end of the end of the line front of the line and you can see we've retained all this information based on a hack where we've color graded the background now we've color graded it unfortunately in a color that is black so you can come into this multiply here click on the four and play with if you want to make it more like the color over here which might be a little bit more red so you can kind of play with that a little bit so you can go ahead and see the difference between that you can see a huge World difference that this can do to retain values that you couldn't get out of your key due to quite the variation of the green behind the actress so a lot lot of stuff I'm throwing at you okay so the next thing I want to show you is the primat so the primat let's go a and drag this baby over here and we'll bring our actress here primates are usually used for creating cores um which is very important to understand that despite all of this keying that we did if I go ahead and take a look at our actress here you can see if I pulled it down she is you know slamming the gamma she is still transparent here so if I were to sample this area here you can see the the actual value is 998 okay so that is technically unacceptable in regards to um an alpha input uh that you can play with here it's it's a 05% or lower is what is allowed in regards to transparency um uh for the most part especially out here in this area here kind of sample here you can see the value is like 033 that's that's fine even though we do see noise here it kind of translates itself into not being seen in the plate itself but if you get values in here on in the black area that are above 05 then you got a problem so that's sort of like the middle ground even though you see Gunk up here like let's sample this so the average is 0 two right so that is actually acceptable that will not probably be seen in the final output and we can test it just by looking at it right if you see sort of noise up there in your shot then you know you got to deal with it but in general it's it is what it is so let's again let's go back to our primat Pats are uh just very destructive in the sense that it's almost like uh creating a key with a permanent marker if you make one mistake it's hard to go back and I just find that the undo button is a bit buggy so I'm going to go over here plug in the foreground and take a look at it now this is what I call three-dimensional keier what does that mean well if I come over here to this nice little color wheel I've put in the scene for you put my viewer to the Roto here and double click my roto node you'll see it the key light was using a variation of luminance and chrominance to pick out an area but the great thing about primat it's a three-dimensional key it almost like works like a wormhole um if you want to talk physics where it jump to different areas that are not connected usually as you increase the area that you want to key it kind of grabs everything in the middle as you extend it out but here's a way where I can actually grab and again this is the gradients of the tolerance of what it actually picks up um actually grab stuff that's outside of that sort of diamond so to speak so it's really cool it's a three-dimensional keier so let's go to the primat here I'll just double click it and again you you have this option your operation this stuff is very uh dummy proof you can go here to Smart select background color and just like we did with the key light you're going to come over here and click a color and boom we've got a starting point so let's go ahead and hit a for Alpha let's go and Sample an area there and now all I do is go to clean background and clean foreground so I just go to clean background noise anything that should be transparent I'm just going to hold down shift and control and Gobble it up as I do this and you can do it by grabbing a whole area but it actually make you it's starting to make your Edge a lot crunchier so I find that just clicking once in a while instead of clicking and dragging like this uh can kind of save your key so with that I'll go back to my clean foreground noise and bring down my slam my gamma here and I can come in here and grab the center areas like crazy now you can see what's going on here it's starting to harden up my mat really badly okay and that's just the the reality of this whole thing you click on viewer here and you can see the actual three-dimensional representation of what is being keyed out in this in the red uh green and blue channels here uh in the three-dimensional uh space if you wish um just it's it's nice eye candy but it really doesn't help you very much um so now you can see everything looks relatively you know Blas um you know if you were to merge this on a background the edges would be a little bit harsh so if you were to compare the edges of what we created with the primat versus what we have in regards to uh what we did with the key light you can see the amount of detail that's been lost the good thing about the key light or the primat I should say is it works as a great tool for um actually creating cores because it still maintains the edges uh but allows for Harden centers so you usually would come in here and again clean this up a little bit more you probably grade it a little bit so you can come in here and grade this oops a green but a grade and again you'd set this to the alpha Channel and you come in here and crush the blacks a little bit so you can see as I crush the black starts eating into the mat crush the whites ever so slightly and now you have you can slam the gam you see we have a pretty solid Center there but this actually as acts as a core that if we were to hit M for merge we could actually after this merge this on top so I'm going to merge that on top of um the footage here so I'll just bring this over here really quick so here is our you know key light which has holes in it and if I take a comparison between the two you could see this is a little bit skinnier now this could be Troublesome because these areas you know obviously these areas of the semi-transparent areas and this is fine um in general you might also want to come in here and play with the gamma as you can see it kind of eats in a little bit more too um you can do that you could also use a lookup tool which I'm going to go over later this and I'll go ahead and set this to uh let's put it as well let's just plus it now I want to show you what happens when you plus something you get values that are above uh value of one so I'm going to go ahead and put in a quick clamp node here like this and now those values are no longer that they're limited between the normalized values of 0 to one or you can go ahead put this to say screen which is usually a nicer way of working and you can see the values are still normalized so screen is actually preferred but you see what it did is it filled in these areas here so now if we kind of look at our again you can see we have a nice core so it fills in the center so that's why primat is a really good tool to use um through this whole process and I'm just going to organize this just a tad so you guys can have it look you know take a look at this I I do have the start and finish for all these files so you're not like what did he do you know I could just go ahead and show you so let's go and take a look at the final result and there she is looking all joyful we still have some green in her face and these are the subtleties you got to keep an eye out for as you can see here and we'll get into how we're going to be dealing with that a little bit later but as of right now that's just a quick example now the final key I'm going to go ahead and show you guys is the IBK Gizmo IBK color this is the most popular in the whole process of uh keying and so forth so sometimes it's hard to explain what in the world this does so here is our actress I'm going to go ahead and add a d noise while I'm here so let's go ahead and add a d D noise put the D noise and the source in Sample up my area and now we have taken out the noise in the shot so we go ah and take a look and before after there noise is gone uh we blurred the image a little bit which we can sharpen her later on um which if you sharpen too much you'll get black edges around heavy contrast areas and it's not good so again anytime you tamper with the image you're tampering in God's domain and you're fiddling around and that can deg the image and make it more synthetic so we have the IBK color and the IBK Gizmo so what does this do well I'm going to show you using a roto uh paint node what the heck this does so what it does is it takes the original plate and it take it this is going to sound really goofy when I kind of describe it I'm going to take a smear brush here right and what it does is it basically does this it's basically taking the sample color you know how we had different luminance values all around her head because it's darker over here as it is lighter over here uh basically what it's doing is it's just doing this it's choosing an edge and then eroding it in from that edge as you can see here so imagine go ahead and make this crazy big it's doing this so it's moving the sample color here which is most likely the color that should be sampled and it moves it in to the character Center and what we're basically doing is a process as if we got rid of her completely okay so I I can keep doing this till the sun goes down here right so if you were to take a look the difference it was almost as if it's a fake uh back plate um or I should say Clean Plate and Clean Plate usually if you have a shot if you're on the stage and you're VFX supervising and the shot is a lockoff shot meaning it's a tripod shot lock down tell your uh DP to shoot some footage with the actor out of the way and that footage can be used as a Clean Plate uh but this creates the artificial Clean Plate which is if we told the actress get the heck out of the way and we shot some footage so you can see it looks as if she disappeared I could keep doing this till she disappears as if she actually is um out of the shot and all it's doing is smearing in the the pixel values around here and then it's using a difference key the difference between the back plate and the original and taking the character out so what I I like to call it a difference ke Okay so that said let's go ahead and create that so we don't use obviously a uh a smear brush we use the IBK color which we're going to plug into our D noise this thing by default is always set to Blue I don't know why they don't just set it to Green because most people use green and secondary blue but it's set to green and I think that's because the old software used to use blue screen more than uh used green screen switching over from film to digital or whatever um so you can see the the image you get is this very there very odd image here where she is um basically has an outline if you hit a for Alpha it's actually choosing an alpha so this is the best that it can do it's basically keying out you know basic green here and what you have to decide here is the size as you can see here by default 10 is usually fine and then you have darks and lights so this is basically in the same way we were doing keying with key light um defining out the tolerance of uh brightness versus contrast I'm going to put this to 01 and I'm going to start dialing up this one until it kind of chews up everything we want to get even those hair wisps if we can now if you do this it starts to explode off to the side of the screen here so you can see it's like oh crap that's not good so I want to kind of wait till it explodes and stop and I'm going to go to the lights and put a value in there on the greens and I'm just going to start fiddling with this until I can get something there we go now the next step is an erode that just basically erod just erods in or dilates out the actual Alpha Edge so now I'm trying to get trying to get all these hair details as best as I possibly can Okay so let's go ahead and Fiddle with this a little bit you can see if I pull it I can overcrank it 678 uh scenes with heavy hair lots of hair and not hard edges are a little bit tricky you might have to introduce a mask which I'll talk about I'm going to demo later on where you actually introduce more to the Roto by adding in more Alpha uh via Roto node but the hairs are tricky I would actually come in here and uh Roto this area in and add it to the alpha mask um because it's no good so you can see what it's going to do it's going to take the pixels on this where this line is at smear them in so you can see the patch black is going to do that so I'm going to go ahead and drag that in and I can over crank rank this to ridiculous now I'm going to talk about the daisy chain version of this later on but I basically brought this to a patch 20 so let's take a look at the original image let's take a look at the shot it's almost like we told the actress get your butt off the stage and there we go now we're going to have problems over here with this hair okay because it's going to use the difference between this and this and do the key okay so here's the IBK Gizmo I'm going to plug in my Clean Plate which is this or if on set I told the cameraman get the actress out of the way and film and he gave me some b-roll footage shot tempor temporally in a different time I plug this in here because it was a lockoff shot and now I'm going to go ahead and put this in my foreground and take a look I hit a for Alpha now again by default the IBK Gizmo is set to blue screen you have to set this to Green Screen annoying but look at this this is like everything we did here right but done all at once with this node because instead of re instead of sampling this area this area this area this area this area this area this is basically using a difference mat to get all the details for us all at once so let's take a look at the difference of what we created here versus here you can see the difference look at how much detail is in the IBK I've talked to many of my uh students that are BigTime VFX guys now and um you know they are they're still this is the best key so it saves time and why is this good well I did um a commercial with Sam Jackson uh the Capital One commercials I used to do and um you guys can look them up if you want Chasm snow globe also uh tiles um they're all on YouTube and so forth but uh Sam Jackson is moving through a scene and he is uh basically he's moving through a green screen stage and the luminance is changing behind the actor so this wouldn't you know a moving shot is not good for keite whereas a moving shot is great for the Ever Changing uh background of the character in say using the IBK Gizmo so with that said you can see obviously we have some noise patterns here if I sample it the values are at 0.4 right those are acceptable values actually believe or not even though we can see the noise um those are still acceptable values to be used and overlaid even though people usually will come in here and they'll you know they'll add a grade node they'll set this to Alpha and then they'll start coming in here and crushing the blacks until you know it lose all the detail but look at all the hair detail you're losing with that see that we've won the battle but we've lost the war so again I'm going to maybe do just a little bit of clean up and even bringing the white Point not as far as like Point like n 98 because we still have holes in our character as you can see this doesn't fill in the holes in the character too much in this case actually it does does pretty good again I might bring this I don't want to bring this too crazy maybe 0.97 or something did a pretty amazing job as you can see now we would probably come in here and do another um let's create a merge node and we're going to create a o for Roto and let's just make a quick garbage mask while we're here so just go throw it like that on steal one of those blurs over here paste that baby on and set this to mask there we go and again just blow this Edge if I want there we go so pretty cool and again it gives a beautiful absolutely beautiful result from which if we were to swap this out right so I'll go ahead and swap out the a here for this input really quick so we're basically doing all the work that keylite did except this time we're going to see the result using uh the actual uh IBK color and Gizmo and look at that all those here details are there now hair can be a bit of a pain in the rear end with the IBK Gizmo because you really to collect the hair can be tricky so I usually introduce some manually animated rotos to cover up all the hair when it comes to this area right here so even though you know this this is the quick way of doing it we're going to show you the daisy chain version which works even more effectively in the whole process so that in a nutshell is all the KE again you want to denoise it you can also use this screen clean Tool uh but again uh you got to don't get too crazy because you'll start to lose uh details and the highlights uh or as far as the uh motion blurs um and the actual wispy hairs but you can see how just these tools alone now this is is still not going to cut it we're going to get into crazier even more uh powerful ke and Dills to really make uh everyone kind of blend in we got to talk about graining reg graining the image I'm taking you guys all the way to the professional end so that if you were to show up at say uh the mill or um any one of these Studios you would be ready to do keying at the very least uh that's just one element of composing obviously

Channel: VFXforFilmmakers.com

Views: 54,816

Keywords: nuke, nuke keyer, ibk, ibkgizmo, ibkcolor, advanced keyer, primatte, green screen, keylight, foundry, creavielyonstut, lyons, creativelyons, uber keyer, professional, keyers

Id: 2CCQ3lAaDuI

Length: 43min 28sec (2608 seconds)

Published: Fri Jul 07 2017