Compositing in UV space with Projections | Nuke [Advanced]

[Music] hey guys welcome to this tutorial uh this is gonna be a bit of a longer tutorial there's gonna be a couple examples here but we're going to be talking about uh how to take projections and move them into uv space and a couple examples of what we can do with that technique so this is the last example i'll go over but just to show you guys it's kind of we have like this manhole cover flying away and like turning into a cloth um so some kind of weird effect and leaving a hole behind and obviously our footage is something just like this so we're kind of taking projections and baking their movement into a moving object so that's kind of one way we can use these but there's actually a number of ways so what i'm going to do is split this video into a couple different chapters and so we'll talk about a couple different things here but first if you haven't seen these videos i recommend you check these out uh you know like the basics uh the fundamentals of what are uvs and you know just understanding those basic concepts before we move into something more advanced like this video so these are the things we're going to talk about in the first chapter we'll talk about why it's useful to work in uv space a couple of reasons so we can blend multiple projections in uv space we can stabilize extract textures so that will be the first part here and i'll use a shot down here that i've taken with a drone and then we have another one that is removing perspective and working in 2d space so that's another use use case for this sort of workflow and you'll see why that's useful and then we'll talk about lastly how to bake projections onto an object which is what we saw just that quick video there and how to patch in high resolution textures into projections if you need to so there's a bunch to cover there and yeah we'll start talking about it with the first one so if we look at this shot uh just to reiterate uh the basic concept you guys already know this probably but you know a basic projection looks like this we have our footage that's undistorted and we're basically projecting that onto a card that's been placed in the proper position you know which you can determine from the point cloud or the other methods i've talked about before so you can basically open this up and we can see uh this is a projection so if we were to play this footage and we give it a second here to cache so you can see nuke is doing a cache here and if i scrub through we'll actually be able to preview the projection so you can see the projection is rotating on this card but so what's interesting about this is if you notice um let's just play the footage first so we can see the footage the footage uh is this kind of drone shot rotating over this landscape and there are some kind of violent turns in the footage so you know that's something you could actually remove with this technique you know you could use a planar track in some of this specific case scenario you could use a planar track to stabilize and remove motion as well but i want to cover the 3d uv method because it expands much further what we can do so so we see this thing kind of turning here and what's interesting is if you look in 3d space uh you'll notice uh it's kind of stabilized like we see the frame rotating but the image itself is staying in place on the card and that's because the the camera is projecting the image and the image is moving with the camera but it's happening uh basically if you place this 3d object or 3d card in the right spot it's going to look like everything's kind of stabilized so yeah it's kind of a glitchy cache here hard to play kind of in 3d that's kind of a nukes thing there but yeah you can see that basically the frame rotates around meanwhile it's staying in position so uh one other thing to note with this if i can fix my cache here uh one of those things no so since it's a projection obviously if we move this card around you see that that image is moving around so it's a projection it's not in texture space and this is really a key concept as we move further into this kind of video is you need to understand the difference a texture uh just to remind you guys uh obviously if you stick a texture on a card and you move it around uh it's not gonna move it's gonna stay on the it's gonna stay on the card so basically what we want to do in this in this kind of video here is to convert this projection into uv space and make it a texture and then you'll see uh the potential what you can actually do with that so the way we do this is we take the projection and what we can do in the scanline render is switch it to uh uv so there's this little box here if you double click the scan line render and we switch it from perspective which is the normal uh result we get from the scan line so if we were to go back and just look at the normal result give it a second to load here if we look before and after before after there's no difference so we're basically projecting it from the camera not doing any frame holds or anything so really you shouldn't see any difference because the camera is just following what's happening there but if we switch this projection mode to uv it's going to render out the texture space of the card so what that means is basically it's looking at the uvs of this card which is again go check out those videos but we have a square card and now it's just looking at the texture so basically that's just something to consider so it it doesn't even matter really where the camera is so like for example if i move this camera with this camera here and we move in uv space you see it's just it's basically just taking the texture and rendering it out uh and basically what that allows us to do is now we're working in texture space uh so one thing before i start talking about this uh it's useful to uh when you're rendering in uv space so in projection mode uv you want to render in squares because usually a uv layout is going to be at least for you know you don't want stress uvs basically so you don't want to be changing formats and all kinds of stuff really if you're in uv space you want to be working in squares there's two things you need to do you need to plug in a background into a square format which is uh so i just plug in a 4k square and i also went to the card and i turned off image aspect so that's not going to grab the 16 by 9 aspect ratio which is kind of this wider sort of footage here it's not going to grab that aspect ratio so if i click that you'll see that it actually changes the shape of our card and it makes it not a square so we don't want to be doing that and switching back and forth so always just check that off if you're planning to go to uv space if you're working with 3d geometry a little bit more complex you won't need to worry about it but if you're working with planes something you need to think about okay so now that we've kind of we've kind of talked about that we're in texture space this is kind of what the workflow looks like so we have like the projection render in the uv space and then we can do our work in texture space here and then we can reapply this as a as a texture rather than a projection so that might be confusing but i'm going to go over it so we'll just talk it through so what's one thing that we can do with this so now that this is in uv space it's kind of stabilized so if i were to kind of play this through you'll notice that instead of our whole video rotating like the original footage the the frame is actually rotating around the landscape rather than the whole thing rotating so you see nothing's moving it's kind of stabilized and this is really useful for uh kind of like matte painting so if we wanted to map paint on this landscape you know we don't want to work on a footage that's rotating like crazy we can stabilize it put it into this 2d space and we can bring something like this into photoshop so we can render this picture out do a map painting on it and then we can reapply the motion so that's kind of what we're doing here so one other reason this is useful is because we can take different parts of the video so let's say the start part of the video i have it frame held here on the the starting frame so 1979 is the starting frame and 2100 is the end frame so you see that uh there's some different coverage happening here we have just give it a second to load we have this one that that you don't see the the green landscape up here and then we have this one that has the green landscape up here but it's missing the other side so what we can do is we could blend those together so if i do a key mix and blend those two frame holes together you see now we can see more of the entire landscape so kind of what we're doing is blending multiple viewpoints with camera and we're getting this overall texture of the entire environment and the reason this is useful is because you don't want to have to you know paint a map painting from multiple different angles if you don't have to sometimes you have to but by building your map painting out or by building your scene into kind of a uv space if it's possible like in this case it is we could we could do this and now we can just export this or do a map painting directly on this so we have both parts of the picture we have it and we can just frame hold this so this would just be a texture now and then we can reapply that uh onto the card so that's kind of the concept so let's just see exactly uh what happens here so if i take a roto paint let's take a roto paint here i think there i have it and merge it over so i'm going to get rid of the frame holes for now i'm just going to show a really basic example of sticking something so basically what i did is i just drew let's just go here so we have this thing we can plug in the roto paint background and then hit the little replace button uh it's a really useful trick by the way if you guys don't know that if you do that all it does is i'll quickly explain it all it does is if i have a rota paint you notice that the default format is ultra hd 4k because that's the format the drone footage is in but you see it doesn't match our kind of uv space square so i don't want to go here and reformat and do a lot of stuff like that to kind of match this format which is 4k square so i don't want to worry about that so all i do is plug in the background here uh hit the little price button and you see it grabs the format from the thing coming into it and that's all it's doing there so we can plug that in now and we see now we can easily draw on stuff and it's it's matching the format i just like to keep these road paints separate rather than keeping them in the stream and you'll see why in just a second here so now that we've got that what we want to do is uh if we render this through the same thing so basically what you do is you have your projection setup go into uv space do your stuff here map painting projections whatever you're doing and then copy that same geometry so we have a card and we'll plug that into the result but you notice we're not using the project 3d we're not using a projection anymore we're using this as a texture so it's going directly into the picture so if you've done this right and you go through the scanline render it should map perfectly so if we compare uh let's compare to the undistorted because so we have this and we have this uh give it a second here so you see that the line and everything is matching and then that would kind of stick so if i were to play this through uh you can play through the sequence here give a second to load and now all of our stuff is sticking and this is pretty big footage so that's why it's a bit slow to cache but you guys can see the kind of example there it sticks as we step through and that's a good way to work so one other thing i want to mention is really uh if you're doing projections and stuff you don't want to re-project the entire original footage and because you're going to basically blur it a little bit because every time you put something through a transformer or scanline render you're kind of losing a little bit of detail so we don't want to take this entire landscape add our stuff on top and then put it through the scanline render rather what you can do is take the format the 4k square and we'll paste it here and then we'll just once we're done doing our work we'll just switch it to from the mainstream into the reformat here and so all we're doing is we're only putting our changes out and then we'll merge that over as a layer and so that's going to be uh kind of maintaining the original image quality we're not going to put this entire all these pixels through the whole scanline render we're only going to take the changes or the matte painting or whatever we're doing and merge that over as a layer so it's really useful to work this way because we can work in uv space we can do our work here but then when we're done we have all of our let's say let's just move this over for a second here so let's say we have a bunch of you know roto paints or stuff going on here we're merging it over once we're done we can just switch that to the reformat and then just make sure uh you know basically like what i said so that's kind of the concept of the introduction of why this is useful uh basically it's really great for sticking stuff it's really great for doing some other stuff so let's talk about the other examples here another example we have remove perspective and work in 2d space so this one i didn't do a 3d track i just took a still image and i just lined up a card uh into that so we can see that uh that's kind of here so if you zoom in we can see our kind of uh tiles here and they're going into the perspective and the card matches the perspective so if we render that now in the uv space um so if you go to normal perspective let's just show kind of compare normal perspective is just going to be you know your image projected but if we switch it to uv you see that uh we're rendering basically the top down view of this square um and we are kind of stretching it because this is actually a rectangle um so you know one thing you could do if you wanted to be more cautious you could make this a square because uvs are kind of square so you're kind of wasting resolution there but you could do it that way if you want to keep like the proportions but in this instance it's fine to kind of keep it uh sort of as like stretch rectangle but basically what you're doing okay so we're back into 4k square we made sure to turn off the image aspect and we have this sort of tiles here and this is a great way to you know do some effects or we could change some of these tiles maybe we have a picture of a tile we could just easily put the tile on any of these and if we were doing this normally we would have to corner pin a bunch of stuff and you know have to squeeze the textures and try to get the perspective and doing it a bunch of different ways and projecting it it's just annoying you know it's not it's not a good way to work so if you hop into uv space do the changes here so we can just take like a texture something like this stick it over one of these tiles and then as we render it back out you'll see that the perspective is already grabbed and obviously you could uh if there's some defocus and stuff like that you could chuck it and you could you know slightly match those type of things as well so you can lower the quality if it gets too sharp but this is really great because imagine if our camera starts walking up these stairs and looking down at these this texture is going to work because it's high resolution something you'll see is if if i were to work in this perspective and i were to project a bunch of different little changes like if i were to work from here and projecting a bunch of stuff if we walk up the stairs and look down at it you're going to see stretching from the projection and you could project from that top view and that's something you can do but there are some instances where you want to work in uv space because you'll maintain texture quality and you won't get stretching like a normal projection so that's just something to keep in mind it's just it's basically it's just easier and you can have a little bit more control over texture quality so that's another example uh getting rid of perspective and doing that sort of thing so now i'm going to go into a longer example here i'm going to do a quick model build uh of this kind of piece of geometry to show you another removing perspective and why it's useful because we can actually run textures through uh different angles so i'm going to do a real quick camera track here and then i'll continue the video because i'm not going to make a camera tracking tutorial so let me just pause here do a camera track and then we'll get back to it all right guys so i've done a real quick camera track and we can see our point cloud here so i've exported these separately our on distort and our camera so we can get our undistorted footage and we can get our camera we don't really need the point cloud uh i don't think uh beyond this so next thing we're going to do is we'll take our footage and we'll plug in a model builder node i don't use the model builder that often usually i will export to maya and just because it's easier to model and sort of do uvs you can do it in blender as well i don't think the free version nuke allows you to export geo if i'm correct um so you would have to do your 3d track in blender or something like that to be able to work in 3d outside of nuke but that's something to keep in mind but basically we can just use the model builder here and chuck in the camera so basically the way the model builder works i'm not gonna do kind of a full uh description of this because uh there's already videos out there on this so you know i don't want to reinvent the wheel here in terms of whatever exists but we're going to plug in the model builder and let me just make sure our point cloud is lined up here because it looks like our camera is a little bit skewed so let me just double check this yeah so we have our ground plane just fix our camera here have our ground plane looks like our curb is going vertical so might actually be correct uh so let's just work with it we'll see so basically hop into the camera view and double click the model builder and we have this so what we want to do is uh we're going to need to line up a point here so we want to create a plane card so we'll create a card here we have our camera locked and we're looking through our camera view and we're looking at the model build node and so what we want to do is chuck in a card and it'll create a card like this and basically the way it works we just grab the points and we want to line it up so i'm going to line it up on a visible point so we have a sort of a dark dark uh i don't know piece of dirt here and then we can just start to match this perspective so i'm gonna find another point that is obvious so maybe the edge of that rust or something near there and then we'll grab the other corners and start to get it in perspective and so we'll do something like this i'm going to put at the edge of the top of the curve the curve is a little bit uh the curb is a little bit curved so we could be really accurate and model that curve i'm not going to do it for this tutorial but if you were doing this as a final shot it's something you probably want to do you would need to model this kind of accurately if you have stuff happening so you'll see i'm just going to move this over okay so we have like a marker to compare to so right on the edge of that black dirt and let's get a mark over here that we can see uh so if i move this point we're gonna do it on the edge of that yellow or sorry the red uh rust just grab these purple points here okay on the edge and on the edge so now what we want to do basically just go to a different position in the video so we'll go somewhere else you see it's completely off uh and then we grab the corner and we want to slide that into place so we want to line it back up where it was so right on the edge of that black dirt let's see if our points over here line and they're off a little bit so we want to take this point and just move it onto the edge and we can compare so if you halt if you hit alt and the left and right arrow keys you can actually jump between your two keys it's a good way to compare frames so we can see in this example it's a little bit in the rust there and here it's a little bit off so we would wanna just slide that over and maybe slide this guy over a little bit something like that it's a little bit closer let's just double check our other edge so here we're off again so just make sure we get right on that point and we can compare still a little bit off so just make sure those two points are pretty close so this is relatively close we have a tiny bit of sliding over there um just make sure so this is also one of the reasons i don't prefer to model build because it's kind of tricky to do the points easier to use a point cloud and sort of model it in maya but i think it's sticking relatively well good enough for the video and we'll just hop back go to frame 60 and just double check again so is this sticking it looks like it's sticking relatively close i think the side's slightly off but it might be also a slightly inaccurate track or something like that but like i said i'm just trying to demonstrate the concept so i'm not gonna try to perfect this track or anything like that or go back um so this is good enough so we have this piece of geometry here uh what you can do is switch to if you go over here sorry click off here and we go over here let's just make sure okay so there we go uh we'll hit the edit button and go over here and say uh what we can do is select edges so we're going to select a couple edges here and then just uh right click and we'll just extrude them so if we go to extrude and just kind of pull these out like that and we'll do the same thing for up here so we're gonna go to the top right click extrude push these out and like i said uh geometry is not completely accurate here what we want to do is uh if you really want to do this accuracy you probably do something like this and then you'd extrude again and then you could push it back so you do a little bit more accurate modeling of the space there you can see this is totally off but i just want to go through this quickly demonstrate the idea so if we scrub through it should stick relatively well and you can see the concept so we have this piece of geometry and now what do we want to do with this in uv space um so one thing we actually need to do is because we extruded faces the uvs will only be created for the faces that were there by default so what we need to do is there's actually a little uv editor in in this so if we select faces so let's go to uh right click and do face selection we can select some of these guys and you'll see uh when we select it uh let's just select the face when we select it you're seeing the edge selected but you're not seeing the face and that means the uvs are kind of stuck underneath there and that's like i said we just created that face and that's why so we can do uh you can drag around here the controls are slightly different like i said i don't use this very much but for the tutorial's sake it'll be good so other people can kind of if they don't have the full version of nuke or they don't want to learn another 3d um they can use this method so what we can do is kind of go here and let's just switch to vertex selection actually so if we go to vertex selection uh yeah we'll go here and yeah so if you grab these points you'll start to see that it's kind of stuck underneath and let's just see if i can zoom in here do command drag so it's kind of it's really finicky i don't find the uv editor nuke that great but uh it will it will work so we can just like basically pull the points and you'll see that they're kind of double stacked underneath each other uh and then we can kind of pull these out and we'll see that those uh uvs are kind of fixed then and that's going to allow us to work better in texture space so we have that and then again on the top we extruded some faces so we're going to need to pull these out and there should be actually another vertices here because we extruded twice so you'll see that there's uh sort of doubled up there so the way i'm going to do it is like this so i'll just kind of un on pull these out and i'm trying to make the uv's relative size to the actual size of the geometry so what i mean by that is you see that i made this piece much thinner than these ones so i'm making the uv thin uh sort of like that the same proportions so if we run a texture across it it's not gonna stretch so we can go here and just kind of pull these out so if you were to do this in maya it would be much faster because you can do planar projections you can do i mean you can't do uv projections in nuke but not you know it's not that it's not that good of a workflow i think you know sometimes it's better to just you know i'm not i'm not somebody who believes in sort of just doing everything in nuke i use whatever tool is the best for whatever it is and nuke is great for a lot of stuff but if it's some if it's really fast another software usually i'll just hop in there it takes 30 seconds to import our geo and do it that way um okay so we have something like that we've unwrapped tvs and now we can select these and we want to squeeze these down into the zero to one uv space so kind of have something there and okay that's good so now what we can do is take the model builder take the selected geometry and bake it out so now we have a card uh in the shape of all the stuff that we just did so we can close the model builder double-click the card just to check it out and we have it there so my access is kind of weird in the world my world access is kind of tilted i didn't fix it in the track there so you know ideally if you're doing this final production you want to orient your world the y-axis with the the real world but uh this will be fine it's not uh not a big deal so we'll take this and now what we're gonna do is uh project 3d so we'll take the same camera we're going to project the same footage and plug it into the image and now we'll see that we have our curb uh in 3d here and let's just make sure our frame range so my the project settings are set to that drone shot so you'll see that a couple times through this tutorial we're going to keep going to this weird frame range but the frame range of this video is 50 to 99 so the frame ranges are different so one way you can do that is to set the frame rate put a frame range node and plug it in and every time you view it let's just set the frame range to the actual footage so if we look at the footage you see when we're looking at the footage if it's set to input it's 50 99 so i'm going to set this 50 to 99 and then every time i look at that frame range it's auto automatically to jump to that correct area that we're working in there so normally if you're doing a shot your settings would be set to the frame range of the shot but we have multiple different examples in the script so that's just something that's a little bit annoying but something you have to to work with so now we have this projected out so now we're going to go back into the concept we were talking about earlier which is uvs so i'm going to copy the original footage down here and in this scan line remember we want to put in a square it's just going to be easier so i'm going to reformat it to uh we'll say i'll just say square 2k or we could do 4k square as well let's square 2k and then switch the mode to uv so now we have the uvs unwrapped and we can see that we have this curb uh removed all the perspective of all the the curves and everything like that so what we could do is we could take a roto paint node and again replace format we'll merge it over and take the brush thing here rota paint and we'll just take the brush and what i'm going to do is i'm going to take a stroke and just draw it straight or kind of straight if i can draw a straight line uh so that's good enough we'll just do uh we'll do a crooked straight line and so what we'll do is we'll go to the start frame of that also one thing we're gonna uh that might help us actually yeah we want to make sure we set the life to all so all frames there so if we kind of scrub through it's going to uh go there so what we want to do is go to the start frame i'm going to go to the roto-paint node and set the stroke to zero so right on end set kit 0 and then at the end i'm going to set the key to 1. so what is that going to do it's going to make it that this stroke kind of draws down the surface and now i'm going to reapply this as a texture so we go back here again we don't want to reapply the curb texture so once we're done using it as a reference we just want to grab the format and then apply the geometry so we can put the geometry back on and put scanline back on we don't need to set a background actually let's just check here i don't think we do but let's just check should go to the right format um okay so yeah this this footage is 1080p so one thing you want to do is uh in our in our final thing here we'll want to reformat that to 1080p so this is the downside of working uh with multiple footages of different resolutions in one script because um if you don't plug in a background here this the scan line render basically all the nodes in nuke if you guys don't already know this if i create a roto node by default it's going to 4k because that's my project size if i don't have a background plugged in here by default it's going to 4k because that's my project size so i have to plug in a manual reformat here because my project size doesn't match my original footage so okay we have this stroke here and then we merge it over and then let's see what happens so we have it here uh make sure we set the scan line to perspective so we're going from uv to perspective and now we can see what happens so we we went from uv mode worked in uv mode we did a animated rotor stroke we just do it straight down and then we converted it back to perspective and now the rotostroke follows the geometry so if i play this you'll see that that animation will follow the actual geometry that we've modeled and it might not stick perfectly like i said i didn't spend a lot of time you saw on the model builder the track it's really just to demonstrate you can see it's sliding there a little bit but it's really demonstrate how this is useful and things you could do with it so imagine if you wanted a if you wanted to composite a crack you know like an actual crack we could take a texture and crack it down this concrete wall and have it like splitting open or something like that um that's this is kind of a one way you could do it you could kind of have that geometry get rid of the perspective and then that's going to make your texturing so much easier because you can just make a crack that's straight you can design the edges of it and you're not having to grid warp and do a bunch of stuff like that you're just working in uv space so you could put put a little glow on there and then there you go that's there's your tutorial so that's basically uh all of those concepts now that we understand hopefully understand uh basically the main idea is just this if you guys can just remember this go to uv space do it here go back to perspective that's really a really powerful technique so here's the advanced i wouldn't say it's that advanced but it's just something i threw together um of this kind of manhole thing the thing we started with here it's the same exact idea except now instead of just using stationary geometry we're actually using an animated alembic geometry so what i've done here for you guys is i've created an n-class simulation in maya and i've exported it as an alembic so what does this look like it just looks like this we have this sort of i don't know cloth simulation i just took like a circle and kind of turned it into a cloth so this is imported from maya and uh yeah so we can work with this and bake a projection into the motion so i'm just going to walk you through real quick and if you guys want to do this project i kind of set up here so you have like the three pieces of geometry that this scene requires uh which is the animated thing we also have a sort of the ground around so we can do that for some shadows and stuff and then we also have like a tunnel uh sort of uh basically just a cylinder going down so that's some assets you guys can play with and i'll just walk through my comp now and um yeah so we have the scanline render let's go to scanline render so again first things first oh sorry we'll go to the top one here so first things first we have our thing and again projection mode uv um in this case i didn't reformat it to a square um i probably should have but uh it doesn't matter that much but it's just better to do it that way and what i've done is i frame hold it on the first frame so we have we can see that the texture uh lines up there so that's what it is and i've done some paint so i've kind of removed um some of the highlights on this thing because i wanted to animate the highlights so i wanted to make it a really flat texture the frame range thing again is just fixing the thing we said it just kind of fix it when i'm viewing it it just sets our frame range properly and that have reapplied it as a texture so again uv space do your changes uv space do your changes go back to texture space and now we see that if we play um it's going to take a little bit to cache here i have a lot of stuff i probably need to actually empty my cache but if we basically play through that texture that manhole is going to stick now so that texture actually sticks to that geometry in the proper way so let me go here i'm just gonna change my project settings here quick so it's easier for this example because it keeps going to the wrong frame range so yeah it's basically sticking now and what else can we do with this so the reason this is rendering so slow is because for the final render i switch the anti-aliasing to high so if you turn it off you see some kind of nasty edges so we want to switch that to high when you're done with comp it's not even giving us that good edges there so you can do some stuff to fix that as well but some other things i did with this i took the same geometry and i rendered out a kind of specular pass so one thing about projections that make them look fake as soon as you start moving them around is that if you move an object around you're going to have reflections moving on the surface of that object it's not just going to be a flat picture that just doesn't react to the environment so one thing you could do is if i step through here i took that same geometry and i applied a basic material to it and the base of material has some settings here like diffuse and specular and so i just wanted to get some of those nice specular highlights on that cloth as it flies away and that we can actually kind of just use here so i did a multiply which just gives it a little bit of shading basically so i really should just drop the quality of these i'm going to turn off the motion blur and everything so i can kind of show this video faster because i don't want to wait around for that so i'm going to turn off the motion blur so it'll just render faster and so you'll see that this is actually doing this i guess i use this more for like a slight shadow rather than the specular highlights so i did uh kind of gained it so we just only get these shadow areas and everything else is white and then i kind of just multiply that so what that's going to do is create some slight shadows on the inside and this is where i did the spec map so here's the actual specular one it's the same concept so i have the geometry uh let's plug it in here so basically i have a the geometry plugged into a fong which is basically just a specular type of texture that looks like this so it's catching all these weird highlights and then i'm masking that through the actual highlights of the texture so we have the manhole and i do a luma key of the manhole to kind of get the little metal pieces and i just mask that through the fong texture and what that's going to do let me just turn off the motion blur again so we can actually maybe play it quickly so now that's going to give you these like rolling highlights on that projection and it's going to make it feel more real than if we just if we just project that still image onto a warping geometry you're not going to get those nice little moving highlights and that's what makes things feel real so you can see that something like that is much cooler uh for an effect so yeah if you guys open the script um it's available for download description it's just a light and a fong in the geometry so you guys can dig through and sort of uh play around there so now what we have we have something that looks like this uh it's still a little bit flat but we still have some nice highlights and some interaction going on there the last thing we could do is um you could add some ambient occlusion so here we can just take a multiply and render out ambient occlusion pass so the way you do that constant ambient occlusion geometry and array render so you can just stack those together and you can render out this ambient occlusion pass and multiply it against it so you're going to get those inner self contacting shadows which is going to make it look even more real as it's bending so you start to get some inner shadows there and it looks better so it's going to really give you the ripple effects and yeah that's basically it so we'll go here let me just double check looks like i actually turned miami occlusion maybe slightly off in my render so maybe i could actually add a little bit back my final render looks like i left off the image occlusion let's just see yeah i might have actually taken off the inclusion because i thought it was a little bit much it looked sort of like making it look a little bit mushy um so you know you could take them inclusion and like play it way down um or something like that might be nice some slight hemi inclusion there so yeah that's basically it uh the other things here uh it's just the manhole thing so basically i just took the other geometry which is the tunnel and we don't do any projections or anything we just use it as a normal um sort of thing here and we just apply texture so i just took a concrete texture so i took like a concrete wall from unsplash just free royalty-free stuff i kind of shifted the top because i wanted to create like an edge of where the concrete is so if you look at like where the concrete is um basically what i did here was i kind of shifted it to create like a fake metal ring just to give it some more depth because this looks a little bit fake when you have that kind of uh perfect cg edge so you want to get that layer of texture there so yeah just a bunch of color corrections to make it look like there's some light coming in um and then you know other stuff here just to make it kind of more interesting and of course you can uh do a shadow as well so i just rotoscoped a circle when that thing was kind of nearby and fake a shadow as it's passing over and then this is kind of the same thing i read another ambient inclusion pass just to fake some more shadow and then you get something like this uh which if we hit play you know looks like this so yeah that's pretty much it um i don't know if i should re-add that ammo inclusion or not maybe it might need it back might have left it off in the final rendering accident there but i think it probably looks okay without it um i don't know this is this is a problem with being sort of a perfectionist you can go you see a million different things this is nowhere near perfect it's really just a youtube example but hopefully you guys have gotten a lot of video uh the script is in the uh description below um so the reason i wanted to also this video just to end this uh this video here is i'm doing a much longer tutorial that involves pretty much these techniques and some of what i've described here and it'll probably be like an hour long tutorial on youtube sort of a mini class out there for free and that's what i'm working on right now so that should be out in the next few weeks here and that's gonna be really cool uh something that you can put in your demo reel even so uh that'll be coming and yeah thanks so much hit like if you liked it subscribe that's about it

Channel: Compositing Academy

Views: 7,238

Keywords: nuke, projections, uv, geo, alembic, animated, geometry, stabilize, matte painting, photoshop, 3d, vfx, vfx compositing, compositing, digital compositing, academy

Id: F-q8tgk8QCc

Length: 44min 40sec (2680 seconds)

Published: Thu Aug 05 2021

Reddit Comments

[u/notabubs]

I'll watch it later. But thanks for the extra info about your workflow with uv's.

It's always a struggle to adjust uv or even just play around with the uv project in nuke.

Cheers

[u/HULKpk]

Great content can you suggest some channels for nuke compositing?