Victor Perez's NODE BY NODE - Jan 16 2024

well hello so we we made it finally I have been willing to do this for a a long long time but you know I always have the the excuse of I don't have the time I don't have the the strength or the I'm tired or whatever so you know when you want to do something you find a way when you don't you find an excuse so now there are no more excuse so first of all thank you everybody for for being here um this is my very first streaming live so bear with me I hopefully everything is going to to run smooth but if not I I I will try to address uh everything my myself I a one band right now so um just to make sure uh for the the people that is uh now on the chat are you guys uh seeing me well can you hear me everything is is is okay so please uh just text me in the in in the chat so I'm going to keep an eye but I I have to say that it's it's quite tricky I'm going to I'm going to try to to manage everything on on on my own so so um first things first um thank you Foundry for sponsoring this um I mean Foundry has been supporting me from the very very early days so uh it just made sense that they they were sponsoring this this thing and you know that I love uh nuke with or without the sponsor of Foundry uh um I I believe nuke is the best compositing software so that that's it in in any case um thanks to Foundry um I'm going to give away a nuke Indie license every week so it's quite cool because you can get the the the license or so if you don't get it this week maybe next week you are going to have the opportunity and just to be clear um I'm going to use nuke Indie for for this just because this stream is all about the the challenge of of compositing I have to to to admit that since I became a bfx supervisor a few years ago I I deeply miss putting my hands on the on on on on the computer for doing the the compositing so sometimes I try to find an excuse to to comp the the shots my myself but I also have to respect the the artist working with me so I don't want to steal the shots so the thing is is like okay I'm trying to do some time something or just to keep me uh in the practice so so today is for my joy I'm just going to be comping so this is how this is going to work I'm just going to comp live so this is a live live lab so I'm just going to be comping um just to make things more interesting I have to say that I have no idea of the shots that I that I'm going to come let me let me explain for this first uh first series that because it's going to take more than one session to to come the the shots um I got a a shot uh I mean the the assets of the of the shots is a full CG so I'm going to be uh comping the the renders and it has been kindly donated by myod uh Colombo which is a a a fellow uh compositor that is by the way he's now uh doing a lot of support for for artists on on LinkedIn so I will suggest you to to follow him because he's publishing every day amazing resources uh about that and that's how I came into contact with this footage so I saw he was giving the the footage for for free and I say hey this is actually a very good render uh asset so can I use it just for training or for exercising whatever and he said yeah of course this and whatever you you need and I was even endorsing uh to my my students just to ask him for the for the content because he really his production level so it's really really good um and yeah I asked for for for the materials and the only thing that I have done with the materials is just to make sure that I downloaded everything and that I have the camera I mean the the data that that I needed for for work working but word I had no idea how this thing is going to work and I believe this is what makes this stream streaming interesting I'm not going to precook things just to show how good compositor I am this is not the the aim of this I'm just going to show you what usually nobody shows you which is the struggle so have to invent things and just to use my resources and justy try to to get the best of what I of what I have of course I'm not going to be under the constraints of being in production that I know is very different Dynamics but I'm going to try to do things for real so I'm not going just to to show you a beautiful shot I don't even know if it's going to come beautiful but during this process what I want is just to share with you just to show you how I do things um it can be better it can be worse but it's how I do things and for me they work it doesn't mean that is the only way to work maybe you have other ways um so I will encourage you to share with the community so what I want is you guys just to see that anybody can struggle with a shot and at the end we have to find the way because this is what make us professionals we don't stop in the struggle so we go through so that is why I I decided to to do this this thing and to share with you it's going to be fun I'm just going to be talking but just to be clear this is not a master class it's not even a course I'm not trying to to teach you anything I'm just going to do things um with this sometimes maybe I'm just going to answer questions of what I'm doing or clarifying what I'm doing but I I won't like this to be a dialogue between me and someone asking me how to do certain things for doing that there are other other media that that I will even recommend um and this is just for basically watching me comp that maybe sounds boring but I I'm doing something that I always wanted to do which is watching other professionals working so while watching I hope you are going to to learn and we are going to have the ability to to chat so um first of all um before before I I start I said I'm going to use nuk Indie um to to be fair I never use nuke Indie and I know the limitations we are going to talk about the the the software itself where I'm doing things but I'm using it and even without testing it before because I want you to know if this is to be used in production or if you are going to have limitations so for what I see in the limitations uh in in relation with the the nuk X version that is the one that I that I normally use I have to say that it's not that much for the single artist so for what I'm doing here let's just try it together so even for the software if you find like there is something to point out but I'm just going to demonstrate that it's actually the same why I'm I'm saying this because it is important to to to to let clear at from that I believe even if I love nuke that is the artist at the end of the day that matters is not the computer is not the software even if both of course computer and software is going to help you but they are not going to make you a better artist is your eye and your ability to comp the only thing that matters so that's why um this streaming is being done with a laptop and I'm not going to to lie this is like a a MacBook Pro it's not even the latest latest generation but that's why I don't want to use unrealistic uh average computers I don't I want to use things that you can use and you are going to see things in real time because this is live so I cannot cut the the renders or whatever so I I just want to prove that you don't need the super things just to do super compositing so you are the one that is making this super so let's have fun with with this so um first things first um as I said before we have a giveaway uh so Foundry kindly is giving one license so I'm going to put here in the chat the uh how to enter in the in the giveway so um well I'm going to put it on on the screen so here you are the uh you need to enter you have if you have a a QR code or you want to to enter the the link in in there you can have that uh to participate in the in the giveaway so I'm going to put also in the uh in the chat so you can get the uh the link to to participate okay um so of course just participate because it's it's going to be uh amazing you can have that so um this is again thanks to Foundry because is sponsoring this this streaming um um if you are considering getting getting nuke Indie actually there is a very good opportunity for you to get nuke Indie um because right now Foundry is running a promotion and you can get a 10% discount even if the the the software is actually quite cost effective so is is not as expensive as the other versions so you can actually get access to to that and and and as I said I'm going to use it in here so you can see me that I I don't think I'm going to get bothered by the uh by the limitations of the of the software I think the limitations are related to the big studios of course if you are a big Studio or even a medium studio if you are a studio it will make sense for for you not to use I mean you cannot even access but it would make no sense to have the limitations but for a single artist the limitations are for things that honestly I don't think you need it anyway so yeah this is the the 10% discount and if you want to enter into that uh that discount I'm going to put also on the chat the uh the promo so you can just go to the the website and see the the the promo and seriously it's a very very cost-effective uh price and you can have like a whole year um for the price of a fraction of new X so um once once I told you about uh this how can you support this streaming because I'm doing this for for free for I mean I'm you are not being charged for for for this and I'm super happy of giving back to the to the community that I think is a responsibility for for anybody that made it and and I'm very happy to to get back but in order to to be clear if you want to support me because I really appreciate that and it's going to encourage me and help me to share even more things um you have in in here here you are in here you have a a a link to buy me a coffee which is just that I'm not going to ask you to to to pay my bills or whatever but just buy me a coffee so I'm going to put also that link on on the chat so if you want and only if you want and you are happy just buy me a coffee which is mostly mostly that okay um what else I have to say that and and I will be fair uh that I mention that the inspiration for this streaming came from my good friend Ugo Gera which is amazing and everybody knows him and I saw him just how amazing what he is doing everything that he's doing is is amazing but he's giving back to the community a lot but not only a lot which is also very good so you have a a wealth of knowledge and that you can you can get just by by by subscribing to his channel H go desk so I yeah I encourage you to to follow him and by the way tomorrow he's hosting the uh the show real reviews as he used to to do so don't miss it is going to be amazing and maybe we are going to have uh surprises for for you but I'm going to leave with to to to tell about about that okay so um yeah so let's let's start by by by starting with with this okay so um just only one thing is if you want to know more about me I I guess you know me because that that's why you are here but in any case if you don't and you want to know more and get um familiar with what I do and all the stuff and seal so that because I publish things also for for free or get into my patreon on all the services I just publish on the on the chat the my my social media my link three so you can enter in there and have a look at the at the whole thing so I will really appreciate if you subscribe to my to my channel um um if you can also subscribe to uh foundry's channel that will be really amazing because uh you know they are uh they are supporting me so I would love you to to support them as well and they are they are very committed to get back to the to the community so um thank you Galina I saw that you you bought me a coffee so thank you thank you very much um so um let's start let's start and I'm going to start sharing my my screen and as I said I I never use uh nuke Indie so let's let's start by by opening and I'm going to to just to set up the the software so the first thing uh the the only thing that I that I done is as always I just make sure is it works okay so that is the only thing that I that I did with this I have no previous experience with Duke Indie but the first thing that I noticed is of course is telling me hey you have a a few limitations so the first thing is like everything thing you are going to do in Nuke Indie cannot be open in the commercial or non-commercial it makes sense so that's why it's a it's a thing so I just don't want to see this message again so if you want to go to the guide or whatever the the main thing that is telling you in here is that you have a limitation of 4K um honestly is there anybody that is going to deliver anything higher than 4K I don't think so so it's not really a a limitation Okay so yeah that is that is the thing and for the people that maybe is familiar with nuke Studio which is the best software that you have for conforming and just to you know for dealing with your with your your shot in sequences um this is actually the the interface of of nuke Studio it's the same thing you have a timeline in here with the properties of the sequence and the project with the media the viewers so it's actually a very nice hybrid thing that you can that you can get even functionalities of uh nuke uh studio in here so okay in here because I'm just going to be working with one shot I'm not going to use the capabilities of this uh time line so I just prefer to go with the classic okay so in the workspace I'm going to um compositing this thing here you are and this is what everybody is familiar uh with oh let me just be sure because you cannot see my screen so of course we are live and this is happening live so why is not working interesting can you guys see nuke in here because it's it's open so you're seeing the mirror interesting let me just double check in in here the screen primary because I can see my desktop but I cannot see the the thing it will be really amazing if I cannot share nuke so he's like thank you very much it has been a pleasure for today so no worries I'm just going to find to find a way um let me see if I can just go with the other screen so result it was going very well so yeah interesting I don't recognize the screens right now so just give me a sec okay I can't tell a joke in the meantime or whatever but just give me a sec this this shouldn't be happening [Music] um moment of panic but I I don't care I have been live for many times in other places so that's why now I am uh appreciating a lot the people that is doing lives so just give me a second just selecting the the app here you are yeah that's it it should be working okay so just to be just to be clear is this working are you seeing my my my screen I I think so yeah so I'm going to to make sure everything goes okay thank you guys for for for the feedback so I'm just going to uh start with the with with the main thing which is getting the the the footage okay so um the footage is going to be um mega [Music] so home Mega here you are so I have the media that I'm going to to read and as I said I'm just going to read the whole thing so maybe is going to take a little while so bear with me okay a this is a PR comp I don't want a PR comp um okay this is number read three okay read four and read five and RI six and read oh this guy okay so let's open it good so I have this let's see okay okay so what is the what is the the first thing I'm going to do of course I'm going to set up the color space I don't know if this has been color managed in in AC's or I honestly have no idea so I'm just going to uh try to stream everything into into Aces even doing a a a conversion so uh this is going to be a studio um that's it I'm going to make sure the project is set up for the resolution so the root let's see the resolution is this which is wi screen Square pixel so scope but in in square pixels as coperation so this is it 24 frames per second 400 lock range okay everything in in place now okay first thing I'm going to do is I'm going to save the uh the script so in the desktop and I'm going to call this um live comp so VP live comp 01 V 01 well let's put 01 just to differentiate the the SS and instead just to be more classic I'm going to use the usual name of naming shots okay so four digits and that's it that is going to be my setup now uh because everything has been uh I think I don't know but I'm going to assure uh to ensure that that this is this is it so I don't see in here the acis uh flag it should be like the the first one um the first line of the of the aces so I don't see Aces so I'm going to assume this is going to be like the rec 709 uh linear so right now nuke by default is just getting this into the into the scene linear because it's thinking that this is a a a CG from from NIS so what I'm going to do is I'm going to use uh add the color space for input uh so a utility and I'm going to say that this is a linear re okay so um usually I'm not going to do this for every single one so I will prefer to go with the uh with a script or something just to change everything just just in here just for the sake of going one by one because I said I'm not going to lie this is going to be as it is so [Music] there I'm going to have a look at the at the uh at the comments so myod is telling me yeah is Rec 709 linear so good good uh good intuition so um the thing someone asked is this going to be recorded um and then uh publish yes it's going to be available after the the streaming it's not going to be live uh so you are not going to be able to participate or whatever but yeah it's going to be available to to watch okay for free always so um let me continue with this uh it's nice when we can have a weird silence between us it means it's very intimate so just a sec are going to have a few of those okay and this is now recognized as a PNG as a matte painting okay well it is it is that exactly so okay I have this which is um some sort of lat long it's not exactly a lat long because the lat long should be twice the ER the length in here than in here so twice the width than the the height but I'm going to convert that later so right now what I need is to find the right order of this and again I'm just doing this by by ey just to to trying to to understand uh so someone is telling me that the font is actually small um the problem is if I just make everything bigger is going to look weird for for me so okay let's try to let's try to make the the font bigger so script um panels um the font let me try something like like 20 a my eyes my eyes so this is what I mean it's looking very very weird if I put it like that let me let me try something else uh let me try 15 it's weird but it's good enough do you guys see better this way do you prefer yeah it's a 4k monitor so maybe for the next streams I can just downsize the the the resolution so it's going to be uh it's going to be better for for everybody so no no worries I I I will keep that in mind thank you um right now after the program that I have with the with the resolution I mean with the with the screening I I I am very very afraid of touching you know what let's do it anyway I'm just going to try to change the resolution this is something you don't do when you are in in a live streaming but you know we are here in between friends so let's try so let's try to to change this bear with me if explodes I'm not going to to be responsible for the thing let me see let me see if now is it is it better for for you guys going to try this yeah I know I can I can I can change the the US scale but it's returning we weird values and and the position of the uh of everything is a bit weird I I I don't like it um it changes the the knobs usually so that's why I prefer to go directly with the resolution of the of the monitor that I have changed and it seems to be working so do you guys okay so that's said that it seems better so I don't mind I can I can have this resolution and it's actually actually good okay so um let's let's try to to get this on the right thing so I will guess this because of the resolution and things this is something that goes oh this is an actually an element it's a different resolution so maybe it's coming from a library or it's a separate element well I will play with that later so this is this is a car I'm going to be around here so to see this is kind of the master background okay okay this seems like a foreground so first of all this goes over that yeah okay makes sense so we have the first position then uh this thing what is this this seem like a pile of something so this and this and and this maybe this is going to be over here and this goes there not sure let's change let's put it at the end maybe it's an element that needs to be here yeah because it's returning something that is in there see maybe and he has no Alpha so that is the shadow so yeah this goes there of course if you are in a in a in an organized uh pipeline you you know very well the the ordering here and just figuring out just because it's fun so the car I guess that is going to be over everything else something like this yeah then this is uh some sort of dust which is why it's called dust so I guess the dust is going to be overall and then we have this fire and Plum and this guy that uh is going to be uh on the yeah is is an element that needs to be reformat to be uh with the right with the right size so um I'm just going to make it um the resolution of a lat long so um I can even use it in other ways but I'm just going to uh use a box and I'm going to say that the input so in here is going to be the input format W and in here I'm going to force the pro the proportions and this is going to be input format W divided by two which is the LA long so what is the problem in here the problem is like um now the the sky the LA long is in in Reverse so it's going down so this part of the sky should be on the top and the the part below if you think about it you don't need it so we are going to create a dome so in order to do that of course I need to remove the center so I'm going to do flipflop and turn no not turn but flip-flop so now it's upside down and I'm just going to mirror it so just to make sure this is now a lot long um what we are going to put is in a sphere a classic sphere and interesting okay I'm going to crop just to make sure the resolution is right I don't want black outside so yeah here you are as you can see you have the Dome if you prefer instead of extending the the part be below uh because right now as you can see here you have this weird yellow that is completely fine because we are not going to see but if you want to visualize just black outside something like that before the the actual the actual extension I mean you can put it any anywhere but I'm going to put it on the first so I don't break the concatenation if any in here of course I don't mind the concatenation I'm not changing I'm not interpolating but uh just to keep things clear I prefer to keep this note out of the way in the middle because you never know what is going to happen maybe I'm just going to change my mind so this is a way of clearing your your ideas it's like I'm preventing to need to remember um to to put this on the right place so I'm just putting on a logic play so every artist has a logic so that's why when you open someone else's script it's just going to take a bit of time to enter in the in the logic so I always try to apply the same logic to all my scripts so if this is not concatenating I'm not going to put it in in the middle of a transformation okay so I'm just putting there so with this I'm just cropping everything so the final resolution is just going to be a lot long as I said double the width than the height so here you are and in here this lat long is now a doom okay so just to make sure there is no Alpha so I'm just going to put an alpha in here with the auto Alpha there you go sphere here a beautiful so you can just move your camera by the way where is the camera well right now I'm not going to care about the about the camera um so yeah let's put it uh aside the plume this is clearly an element that it seems like maybe because I'm very yeah it's is an element it's a CG element of uh fire and and smoke I guess it has an alpha which is very nice so I I can just use this um everywhere so I'm going to put this in different places okay um so um just to make sure all my channels are going to be uh transported across the uh this uh Beauty build that I'm doing in in here I'm just going to make sure um I'm merging all channels okay so uh also merge all also merch all just in case I need a residual merch from the over just to grab I don't know a position or or something I still don't know what are the passes okay so first things first the I believe the most important part of the script is not even the compositing which is the order of things just to have things in the right order and using enough space so don't be don't be shy use use space in Nuke is free you can use everything you you want in the in the spacing here and I'm just going to make sure I have at least uh this so I have blocks in the middle I for some reason I really love Fen shoy of scripts I like my scripts to be pleasant to open it feels like if someone is going to open my my script and my script is ugly and not easy to understand I feel like someone is watching me naked so no I want to make sure my scripts are going to be clean um prepare for at every Point anybody can take over without suffering the pain of understanding for too long what's going on so I just going to make sure everything has a a logic I like to have my my a inputs on the left which reminds me that this is the B which is the background uh I mean the the back of the of the CG and this is the other so I'm just going to so place this in here so I have all my levels in the right place okay so this is it um let's have a look at the at the passes the first thing that I love to do every time I have a a render is just to have a look at the passes that we have so a layer contact sheet is always in in place I have to to repeat that I really love this CG I the guys who who who did this are really really good um you are going to see we are going to get uh something awesome from from from this I I don't know how it's going to look but I guess it's going to be it's going to be good so uh thank you guys for for donating this this material um let's see what I can do with this so uh show layer names let's see what we have so we have a a depth we have an ambient occlusion the other I don't know what is this order what what it means this order I have this I'm not show if this is a real real thing or is a the pass is broken let let's let's see so to to see that we are going to the depth here um let me see if it's the same depth because it doesn't look like the same dep well actually it is the same dep so what's going on in here maybe it's a bu maybe maybe the computer is upset because I was changing the resolution ution while I was streaming so it can be that um but the best way to understand if something is working or not is just go directly don't trust the uh layer contact sheet so in here I'm just going to see the uh the set Dev and it's it seems like it's looking like a direct transmission of of uh def so as you can see if I go down I'm just looking at the at the numbers in in here maybe I have a way of highlighting this anyway but if I put this is 20 around there if I go there and I click in here as you can see numbers are not normalized which means zero to one so things are just going like linearly in the distance so it's like a yeah a linear transmission of of distance so it's important to understand this because when you are going to use certain operations you need to sometimes you need to normalize sometimes you need to understand the transmission of the mats for instance the the focus is something that that you need to understand so dep is working so I'm not going to to worry much uh about that so yeah I'm sure uh as was was saying on the on the chat everything is working fine so yeah I'm sure I just upset my my computer uh against its will of changing resolution in the middle so um in here we have the normal very very important I'm going to use this a lot especially in combination with the position the p and for normals p position and I'm assuming is war normal and War position um object ID this is going to be I guess a cryptomatte and here this is a subdivision is this useful for me not really but it's always nice to understand the resolution in terms of the uh where the the shapes are going to be maybe broken or when you are doing something something like that so um let me see all the things that I have okay finally we got to the to the light so we have the diffuse diffuse direct which is the direct lights the diffuse indir so practically we don't have very very little then we have the direct lighting then we have the indirect lighting that is very very faint so we have indirect Shadows that I guess is going to be alpha or not well we don't have shadows in in here I just trying to to sample so um Shadow mat so this is just going to give me a mat of values between zero and one okay I will find a way of using this somehow um I'm not a particular fan of using the shadows in combination with the with the lighting P because usually lighting P have their own natural Shadows so this is just for empathizing or increasing or decreasing the contrast ratio when you want to create certain certain effects specularity specular direct and specular indir okay so in terms of light I have the diffuse the direct so uh the indirect and specularity let's see Reflections if is the only thing that I'm missing here or maybe I just no we don't have Reflections in in here well if maybe because it's not did it or whatever I'm not going to have it so I just have to invent something in case I need the reflection but in any case this is kind of an apocalyptic scenario so I'm just going to assume that the Beauty has the the little Reflections that that I'm going to need in in here if not I can create something in in in the way but let's not let's not fix it if it's not broken so this is something that is good for for philosophy okay um by the way guys uh are you getting enrolled into into the giveaway so remember that we we have until uh 830 uh sorry I'm going to say in international uh uh scheme so is 2030 GMT so uh at that time it's going to be closed so make sure that you you enroll into the the giveaway uh before I'm going to put again the the link for maybe for the people that arrive uh slightly later so the giveway is in here okay let's get back so we saw the different passes so I'm going to uh verify that my display is in the right uh lat I'm I'm just having a SDR video as srgb uh display so everything looks uh natural the thing is like is quite dark so maybe at this point I'm going to need uh the the sky because that is going to to allow me to see the skyline well defined and everything so in order to use this I need I need the camera so for using the camera I extracted the camera from uh the the comp that um M was uh was providing so I'm just going to open in here [Music] here yeah now the thing is like I need to remember where I put the thing so so yeah it's in here okay here you are workspace compositing here you are this is what this is the only thing that I did okay was just testing that everything was in the in the right place so I'm just going to grab this camera and take it here okay this is my camera and I'm just going to make sure yeah it's moving great so I'm going to close this okay great so um let's see what's the portion of the [Music] um um scam scan line render I'm going to go with the classic camera the background I'm going to use a reformat I know I set up the project and everything but I always like this because sometimes you do copy and paste from other scripts and it's always good to have a a good reference to to be hooked in terms of um the the camera and the the format so putting this in here okay this I'm going to hide the input because I don't want it and the same with the camera so just to put this in here okay let's make the uh the sphere big enough is this big enough well I will say that it should be like really big because I don't want want to create Parallax with the sky because the sky shouldn't have that certain amount of parala of course it's going to have some sort of parala if you are moving like really really a lot but in this case I don't think it's going to be the the the case it's not going to be necessary so this is moving like that and now I'm looking at the back side of the uh of this so I just rotate this so I prefer to to have a look at the other side so rotate 180 I can even rotate more but I'm just going to Le that to align later not sure where the the sun is in this in this M Painting because you have those two bright areas I'm going to assume is is in there but anyway that is something I'm going to I'm going to to put in in a bit so this is going to be my live uh mat painting that I'm just going to comp in here and now we are going to complete the first the first lab so of course the other way around here you are so the first thing that that we can we can say here is like the sun is is going into that direction in around there because my Shadows are telling me right now where is the Sun so I can do a lot of crazy complicated things but I'm going to follow the advice of Steve Sanchez which is a um a visual effect supervisor uh I work with a double negative many years ago and he used to tell me this in Spanish he's Mexican and he used to tell me no no no no no you are complicating your life too much suio which means like quick and dirty so quick and dirty just do things quick and dirty there is always time to go back and refine things but let's quick and dirty so I'm just going to do quick and dirty so I'm going to try to place the the sky in in there just by purely by ey so uh so the sky is going to be something like this okay there is always time to rotate that so now let's make sure this works okay I'm just going to reduce the resolution for because I just want to see overall and if I want to match the resolution of playback with the resolution of visualization I'm just going to make this which is alt two so it's just going to resize to a quarter of the of the resolution so I'm just just going to see yeah you so it makes sense okay so I don't want to watch the the the whole uh sequence so I'm going to return to this and now let's go back to the beginning I'm just going to make sure the resolution is fine yeah okay now at the end so in case I see nice and we are going to use the the camera a lot for instance this element that is going to be the the fire element is going to be positioned in in 3D so something that I'm going to need for sure is to have a 3D visualization everything that is doing that I'm doing right right now of course it's taking me alone because I'm just talking and breaking the resolution of the monitor but but uh usually this is the first thing that I do I lay out everything that I have I use the logic I realize what I'm missing for instance in here I don't have the lens lens Distortion uh so I just need to invent something for the lens Distortion uh even if it's a full CG shot I'm just going to assume this is going to be in a sequence of a film it's not an animation movie uh because if it was an animation movie we are going to decide what are the lenses so in a photo realist environment lenses have Distortion so that is something I cannot skip of course other things that are less visible like for instance the aberation or vignetting or something well I can pay attention to to that something that I should know is like what is the lenses that I'm using here well I I can guess I don't know what I what is the the lenses I don't even know if I have this data in the metadata I don't think so but let's have a look if we have something about that this is all about the passes color management uh see linear re 79 here you are so okay this telling me information about the computer nice computer by the way um let me see if I can see some camera total uh render setup memory threads transmission no I'm just looking for the lens that is essential for me something if you nail the lenses the sensor um everything that is photographic everything is going to start looking nice very very early so yeah okay I don't know what is I'm going to assume because of the way the camera is moving and the resolution of how it's getting far I'm I'm going to assume this lens goes closely to a 45 it's going to be something between 35 and 45 I don't know if m is still here he knows or he remembers because I guess it's not something recent so um yeah I don't I don't know I'm going to assume just because it's a big environment and usually if you want to show a big environment as a cinema photographer you are going to tend to use like shorter uh focal lens so focal lens um so I'm going to assume this is going to be a 35 I don't see a super super wide movement because I will I will notice the movement of this first uh this first area everything that is close to the camera in a super wide lens like a I don't know a 18 for instance that is a a very wide lens or a 22 or something like that is the lenses are going to be are going to behave in a in a in a different way so let me see the camera yeah it's a good idea of course let's see the camera in here I I see a yeah it's a it's a 20 in here of course because we have a a a horizontal aperture and a vertical aperture that is not the the you know the the the full format the classic full format of Photography so yeah it's a it's a 20 that is behaving because the sensor is slightly smaller this is behaving exactly like a 30 something so it was about about that but because we are going to use the Aperture so we are going to use uh the relative aperture of of this camera um I'm just going to to use those numbers so I'm going to use a 20 almost a 20 um just trying to understand that that that 20 is the equivalent of a 30 I'm going to call it 35 okay just for for simplifying but yeah it's a it's a um a focal length of 20 so if you want to know more about this remember photography is the very first thing you should know when you are a compositor so research a bit about that the how a focal length a given focal length can change the aspect of that focal lens so the cone of frrom so what what is the angle that you can see with the with the lenses depending on the focal length sorry on the on the aperture so in here the the aperture is is a slightly smaller portion of the of the sensor so it's going to behave as a telescopic effect okay so it's going to have that that effect anyway let's keep going I just talk about a lot I should shut up and comp which is what we are doing here so um I'm going to I'm going to increase a bit of the Luminosity of everything because I guess in the conversion of Aces is losing a bit of of that uh of that original KY that that was so I'm going to start by placing the first uh the first element and I'm going to do it in a Orthodox way okay so I'm going to apply a multiply because you know that if you want to increase the amount of light you go multiply and I'm cloning because what I'm doing here is just I'm I'm adding a master control of uh of light can I do it here at the end yes but I want everything to be up front in here and not at all I'm just going to be on the beauty right now okay because this is just for me to visualize so just to understand okay so this this is going to give me this look okay now I'm going to apply it also to the here you are this one be careful don't apply this to all because you are going to break the the the channels that are in in there for other for other things okay so this is going to be too much um let's put something like like three okay so I see in here that there is a correspondence of lighting and sky that is not that correlated what I mean is the lighting of the sky is kind of Cloudy and filter it's not like direct light of the of the sun while in here the Shadows that we get are really really strong so we need to do something about this we either reduce the contrast ratio of that or we increase the contrast of the sky it will make no much sense to increase so much the contrast of the sky because here you are the cloud so the clouds are already telling you that yeah you shouldn't have all that contrast unless of course there is like a hole in the clouds in there and they are uh projecting through the through the hole but because this is this is a storytelling visual storytelling so we cannot just leave something that can happen in reality but it's not justified in the reality we are creating so that is the difference between realism and photo realism so we need to make it look like right okay so um what I'm going to do is I'm going to to reduce the contrast ratio so for doing that I need to rebuild the beauty so I'm not going to rebuild the the whole Beauty uh just in an additive way so I'm not going to separate the passes and then uh reconing everything so I'm just going to deal with just the passes that I need so what do we have in here remember we have the shadows and the Shadows are telling me the parts that are being dark in relation with the lighting or maybe this is self self shadowing or well I don't know maybe we can try something like this but as I can see here this Shadow is taking a a lot of emphasis in the inside so this is this is going to give me depth inside the building so it's more a like a geometry oriented Shadow so it's not based on the direct lighting so for that maybe what I can do is I'm going to take the direct light that I have in in every pass and I'm just going to deal with all of them so can I just play with all at once at the end I wouldn't recommend this but what we can do is a procedural change of All Passes at the same time so it's just exactly what I did in here instead of using a multiply for this I'm just going to use a multiply for the uh for that pass that I am generating so uh this is going to be very crowded very very soon so uh Shuffle note and I'm going to get again I want things to be clear so I'm going to put in here a little expression that is going to be knob in one sorry in one uh this no so it's RGB right now but as soon as I change it to whatever I want and I'm going to play with the direct light because I want to I want to see if I can uh just mix those so let me put the direct liting here I'm just going to put the post stamp because it's free and I like it so what I can do with this is uh substract so I'm going to uh from this I'm going to get that so from the reason I use the from is just because I prefer to keep the B input always as the column from the uh from the top so with this I should have the yeah it's removing mostly everything okay so can I can I do this also here and try to remove less yeah I can but I don't like it because it's not logic so what I prefer also is to have the control in a more Orthodox way so if I use a a subtractive synthesis of the beauty as I'm doing in here I'm always going to use the couple so it's going to be this this and this with a plus okay I'm going to save a bit of space I'm going to put this close close so with this I remove I add is exactly the same the only thing is I'm going to change in here the look of that so if I remove that and just adding less but it's not just adding less it's like I can change also the color let me just bring this panel here okay so with this I can also make like warmer which is important because look at the color of the sky I'm going to reduce of course yeah right now it's looking ridiculous but see I can just start placing a more Sunset like because the the sky is actually very low and the sun is actually here okay so this is this is going to be like the top of the sky this is like the Horizon so there is like 90 degrees from here to there so the this this in the center is 45° this is going to be 30 degrees so we are talking like this the the sun is actually roughly uh 20° or something like that so it's quite low so I need to reproduce also the the temperature of of that so in any case um what I'm doing in here is just replicating the the system so what I'm going to do is to clone this this system so clone placeing here this this is something that I love from a recent update of of nuke is now finally you can just PLU inside a a stream the whole the whole script uh and it's going to be conform before it was just connecting to the to the last note and this is you know it's something that seems like silly but it's actually super helpful that you you can do that okay so same thing I'm going to copy and paste okay so is everything is being clone because whatever I'm going to change in one is going to change in everything else so this is a procedural uh build of multiple elements for for the for the element I mean I I could I could go at the end merge then and at the end but I like to do it this way because once I'm going to need single ele elements uh for for instance uh positions or uh normals or something like that I don't need to go mix everything process everything and then recreate the the whole uh the whole stream that is going to be a pain so instead I just put the the the area that I need so it's going to be more efficient in the way you fix just to be clear and this is something I I I like to underline which is everybody can do a an amazing first comp but you are going to be judged as the ability to address comments so to address comments you just need to be very very clear of what you are doing at every single step order is Keen in here so guys keep your scripts tidy so that's even why I use the lines of relation the the brown lines in in there I like to use them as guidelines to understand if the script is being well aligned and remember your script is not yours is from the project so be ready for anybody to take over and don't take it personal it's just it's just time to to to let it go sometimes because everything can happen so you need to be ready for that okay so now because this is a clone I can apply whatever I want and it's going to be replicate it on everything okay makes sense so this is what I what I mean so I can start reducing for instance the amount this would be more like it and with this I'm just reducing the whole contrast ratio the contrast ratio is one of the most fundamentals elements um and people don't pay much attention to that and you need to use I mean it's photographic of course but use the logic you have direct sun but you don't have the direct sand so who is driving this comp light always drive the comp so are you being provided with the right element for the background is the right element of the background just deciding what is the light or is the render so if it's the the grown element in the background change the element if it's the grown contrast ratio change the contrast ratio but don't trust others I mean this sounds horrible see like I don't trust anybody no but yeah it's true I don't trust anybody when I'm comping this it's like it needs to make sense so sometimes I can go back to the lighter and say hey can you do this or this and maybe they can explain me why the decision was made by that so I understand the logic and I reproduce the logic or uh maybe they say oh I didn't thought about that so this is the thing yes this is a community so guys this is the one of the most beautiful things about this is the shot is made by many people so we help each other to grow um don't assume the others are just disrespecting or whatever everybody's working to make the best version of the shot so it's not your shot as a compositor or your shot as lighter it's our shot so it's important to to keep this in mind and don't be offended by others telling you hey I don't think this is right so they are trying to help so I know everybody has their own heart and ego and whatever but leave the ego outside it's just going to resolve 90% of your problems okay so okay um this is the contrast ratio the contrast ratio is how hard is the shadow in relation on how how um hard is the Highlight so we just need to reduce this is more looking like look the sun is just going it's fading away so you get more of the indirect light the sky also is going to give a certain amount of color to this so let's see let's see first of all let's modulate that so I feel feel more or less this is the right amount of contrast ratio now what we need to do is to stretch now the whole thing so that's why I have this multiply control at the end so I'm just going to increase I'm just going I'm going to put crazy numbers okay just to show you how the how important is the contrast ratio I can go with this crazy numbers in the in the background I'm going to remove the uh uh just the sky so I'm going to detach this multiply I'm going to make it like a standal so deong and I'm just going to put the previous value four okay so now what I want is just to reduce the contrast ratio because I put in here value 15 I think it was in the yeah in the compensation the final compensation the master lighting switch that I can put in in here um I can reduce in here and remember nuke Works in a 32bit floating Point Fashion so you have plenty of values in there exactly well it's not exactly but it's a good round it's 80 otium 80 otium means 8 Z and 29 zeros after that so yeah it's enough so you are not going to have problems of banding or or something like that so don't be afraid of a stretch play with that play with the values so I'm just going to uh reduce now even more now what you are seeing here is you start to see how strong and ridiculously strong is the diffused light so the light that is not coming from uh identifiable source so of course this is wrong so will make sense in this case just to Ral the whole Beauty well yes and no depends on what makes sense to you I will PR refer to deal just to less channels so you are accessing to this file less so in the architecture of the of the software you need less calls to the software instead of just just doing a lot of calls to the this just to access different sets of data no I'm just going to use a base of RGB so I'm trusting the lighter is just doing uh their job right and I'm just playing with every aspect that I need so I'm just playing instead of reading all the all the pass and just putting in the a multiply so that is going to solve so now it's like a we can play with two values is the master switch which is this and the the compensation of the of the Highlight so the the direct light okay so I'm going to play now uh let's reduce something like this and now let's see the direct light lot of direct light non direct light it will make no sense so we need some sort of light so yeah something like this then we are going every time we are adding an element we are going to modify the whole shot why because that element is going to filter if I put for instance the plume of smoke in here this is going to cast a big Shadow over this so I need to create something that is going to react on that area Okay so right now what I'm doing is just I'm doing my premix this is a premix in order to make things on this shot to make sense okay so okay I'm going to say that in terms of the premix this is good I'm going to change just the color just to make sure everything is going to be yeah good a apocalyptic Sunset so we are going to do uh like a romantic apocalypse okay so it's going to be kind of weird I don't know what is going to come at the end but it's going to be yeah a romantic apocalypse um again I'm just trying to play something different usually um I will just try to compensate one with the other or well in this case I'm just going to try to see what's what's the best approach for for this maybe I can even change in the middle fine as far as you know what you are doing do whatever you want but follow the flow of what you are doing so now in here I'm just going to compensate for the other so if I apply here something that is going to give me a colder element it's going to be easier to deal with the warm of the key light the key light is the main light of the scene in in natural light this is the sunlight and the secondary light which is this one so I'm going to clone again going always for everything the nice thing is once you have the structure ready you don't need to put the all the notes again so you just go and play with with them um so uh multiply again I don't need to tell you that you only touch multiply yeah you can put a multiply as I did instead of a grade I'm just using the grade because you have a hotkey it's just that but it's the same so I'm just going to make it slightly I'm just doing very exaggerated to make sure we are we are uh doing in the right direction but yeah something slightly CER okay so another thing you have to keep in mind is the relation between contrast and saturation um contrast and saturation go always Hand by hand okay so if you increase the contrast you are going to naturally uh in have an increase of saturation so by the way um for those of you that don't know uh I publish a a book about color management and color science for artists so uh just have a look at at the book because many things that I mentioning here are going to be uh better explained in the book because that is the place for for doing that and again you can find the the book um everything else about about myself on my on on my link so I just put them before in in there but in case uh you miss I'm going to put it again on the uh on the chat so you have in there my link tree um for those of you that maybe want uh want to to get like a more serious about uh learning about light and that you know that I have published a a full course about the study of photorealistic CG uh compositing that is called uh the master of light so if you want to to have a look and just giving away for a 50% discount this uh for this week uh for for you just using the prom the promo code Noe by node so I'm going to give you the the website and also the uh the not on on the chat again it's going to be valid only for for this week um and yeah if for those of you because now that we are talking about about this for those of you that uh wants to get like a more direct treatment and want to ask me things or just to help you develop as an artist or even to review your shots I can sign ndas or whatever so I can help you with whatever you you need I have one on ones so it's like like a private SE session online you and me is even recorded so you can get the your own recording just for you is private um if you want in here you have the the the information to to get that in my links you will find that you can book your your sessions it's pay as you go so you don't need long-term commitments you can have one off or you can have a serious or or whatever it's just whatever you you need okay it's because I said in the beginning this is not the space for making questions whatever well this is the space for for asking for for things okay so let's go back to the uh to the shot because I was saying uh contrast ratio as I explained in the in the book contrast ratio and saturation are Hand by hand uh hand on hand sorry um so if you need to reduce the saturation because there is residual saturation of something that used to be saturated and now by reducing or increasing certain colors like in here we are increasing the blue maybe you can have a very colorful shadow um that is something wrong Shadow should not be that colorful because in order for something to be colorful you need to have light so what I'm going to doing here is I'm going to add a control that is not Orthodox because the color correct that is the note that I'm using right now is not a a technical notes it's a note that you do you use for uh is based on perception for instance the the contrast uh deal that you have in here is not a contrast I regulated at the 50% value it's regulated at the 80% why it's because it's the grade that we perceive blah blah it's a lot so what I'm doing in here is I'm just going to be uh to make a correction by ey purely by ey okay so with that what I'm going to do is just let's reduce the saturation of course this is just killing everything but I'm reducing and notice that I'm reducing the saturation before coloring so what this is going to do is just going to prevent a residual saturation that I'm going to increase in the grade when I making everything slightly colder so I just want to compensate the saturation with the amount of uh light color light that I'm adding in here this is representing this grade is representing Skylight so it's the light that you are getting directly from the sky and in this case I love sunset uh because intense of lighting is very colorful you have H A gradiation between the senit that is the top point of the of the sky that is bluish and the Horizon which is very colorful orange and in here you have also a relation between intensity and color so the higher you are the less intensity but the more bluish the lower you are the more intensity but the more diff the less diffuse and the more orange so you need to visualize all of that in order to apply the right value so of course it's a lot of thoughts in your in your mind but it's represented in the in the script just by one single slider which is the color the color in here the color of the uh of the secondary the secondary light The Bouncing light or the uh whatever you want to feel light or depending on the setup but in here it's just going to be the sky the Skylight so just to to improve I'm going to use the same process but in the other way around I'm going to apply on the sky a lot of saturation okay just to help me a bit contrast as well okay good so let me show you the difference by using these colors and without I'm going to leave the multiply of course to see but jeez I'm going to remove that because you're not going to see anything yeah this is contrast ratio right now this image is super high contrast you barely see anything in the shadows and the highlights are very very bright in here you can see way more details in the shadows and this why because this light and I can show you this is a very nice example in the in the dome in this Sky you can see that the let me let me remove that you can see that everything around is quite bright yeah of course in here this is the brightest area but everything in the dome is quite bright so it means that the the Skylight is actually very strong so you are receiving not only direct light but also indirect lights a lot of of that so this is what I what is driving my my my Skylight at the moment as you can see right now everything looks quite frankly clear sky okay so maybe we need to adapt that or maybe we are going to add other things because there are things that are going to help me to reduce that feeling of clear sky but right now I'm just looking at the very first uh setup so this is just going to be a layout a layout of light so for me this is going to be uh good enough to start comping so what are the things that I'm going to do with with this so now I need to lay out the elements okay so first of all is it going to be Dusty is it going to be clear how recently this apocalypse happened so are we in a PO apocalypse film or is something that happened recently well that is going to be the side by the story remember we are artist and everybody that is in this visual effects world is because sooner or later they love Star Wars first of all so it's because we love movies and we love movies because we are moved by stories so everybody you and me we are storytellers so focus on the story if you focus on the story the story is going to tell you what to do with the shot not your ideas of what looks cool I really hate when I have someone telling me I just put that because it's cool no cool is telling a story if I want beautiful pictures I go to the National Gallery which is amazing and you have the best painters in there no I don't want cool pictures I want meaningful pictures beauty is the meaning of the story so we are serving all the story directors producers compositors lighters whatever so everything needs to tell the story every pixel in here so um let's start laying out now the environment but I'm just discovering that it's a bit late okay so just last call for the people that didn't H enter in the in the uh giveaway by Foundry so please do it because at uh 2030 GMT is going to be closed um I'm going to announce the the the the lucky one that got the license in the next streaming um um for today I believe I should stop because if I enter in the next in the next thing uh is going to take a while and and I guess you you you have a life so so yeah yeah I'm not going to torture your souls longer of this so just to remind you that I'm going to be doing uh this streaming every week okay so every Tuesday at um 19 uh GMT so at 7 p.m. GMT uh I'm going to be here sharing with you I'm going to work on on this sorry for the inconvenience the technical inconvenience that we have this is it was my my very first time um but I'm quite happy how how is is going um uh again if you want to support me uh first of all please subscribe to to the channel hit the the notifications um the like of of the video this is going to help me a lot to to keep the the promotion of of this um if you want to buy me a coffee just buy me a coffee and hopefully if there are events here in in in l London maybe we can we can meet in in in there so you can buy me a beer that is another modality that that we can that we can have um I'm going to be around this year for the the festivals fmx for instance and many other so I if you see me just please stop me and say hey I I was following your your Stream So I I'm always very happy to to talk to you guys [Music] um I think this is an hour and a half of your time I'm very grateful for for you guys to spend the time with with me uh it was really really a a pleasure and I really hope that you enjoy and if you want to watch this again it's going to be publish on online on on on YouTube and I'm going to save this so next week I'm going to take over over this I promise I'm not going to I'm not going to to touch anything I'm not going to keep working or studying anything I just want to go on the fight so you are going to see me trying different things maybe next week we can even try to do the additive synthesis and to see if that is going to help me more or we are going to have way more notes that honestly we're going to have way more notes but maybe sometimes it's going to be easier to understand so what is better to be easy to understand or to be more efficient well it depends what you what you prefer to kill others or to be very good with yourself so that is that is something you always have to keep an eye that is about philosophy um so guys thank you very much um I hope to see you uh next week on on everything thanks Foundry for for supporting me again on on this and just by the way we have one minute left well we have less but it's okay um I have been using nuke Indie and honestly I forgot I was using nuke Indie I see no difference so yeah this is what I meant and I still haven't hit any any limitation or anything strange you are going to see that the comp is done with grades and blurs mostly so of course you can have like crazy crazy stuff and I like to use lens FL because everybody loves lens FL and all of that but the most important part of the comp is you is not the software it's not the hardware you have to take care of that beautiful mind of yours so if you keep train and you keep practicing and just be an active artist and give back to the community that is the best thing I have to admit that I I learn a lot when I'm teaching and I learn a lot when I'm giving away for for communities like ncpedia or so I would love to see more people being active um you know everything has been open by by the most important divator in in in the Panorama right now which is UGA so thanks him also and don't forget tomorrow to to to connect to to his his stream that is at 5 I believe p.m uh GMT um I think that's all for for today uh if you have anything you can drop me an email or you know maybe if if you have a nice shot that you can share so make sure you can share that shot especially if it's a personal project for instance and you want to to give it to me because you want me to to try that or you want to talk to the producer and the client and they are super happy to share for free their materials online for everybody to see I'm not that sure about that but if they want and you sign as you are the responsible for that I would love to to come the the the shots for for you for free and they are not going to get release anything this is just for practice as musicians we need to practice every time and keep practicing that is the only thing practicing observation practicing compositing so thank you very much and I hope to see you very very soon in the next streaming next Tuesday take care guys

Channel: Victor Perez's NODE BY NODE

Views: 2,818

Keywords: nuke, Nuke, NUKE, Foundry, VFX, vfx, visual effects, visual, effects, compositing, compositor, Victor Perez

Id: UQVSkVUSx-U

Length: 92min 30sec (5550 seconds)

Published: Tue Jan 16 2024