Digitial Art & Compositing
Another quick tip for the this week. It is about the IBK Keyer and the way to improve your clean plate creation using the IBK color Nodes.
I decided to start a new category on my tutorials. A quick tip sections, that are super short, easy tricks that I learned a long the way and that are helpful to get better results for your compositing work.
This time, I start my career advice category as I get asked this quite often. A career in VFX can be like the Node-tree below. A bit confusing, with a lot of Time Offsets, Distortions along the way, you might even switch from one to another side and ultimately you will come to a certain point when you realise, this is where I am right now.
Ok it is time to write new Tutorials. Now this is one I thought might be of interest, especially for the more advanced artists around. Now the task seems easy: matching or creating Grain for your shot, sequence or show, without a grain plate of course
Well, keying is a task in compositing, that obviously needs time. Especially when you are working on a film project, edges are important, and keeping as much detail as possible is key ! You need to tweak, and tweak and tweak, and sometimes even paint detail back into your shot. And one thing you always have to remember: YOU WILL NEVER HAVE A ONE-KEY Solution ! NEVER !
There are times when keying can become pretty difficult, especially if you get to add stock material to your plates, and this is a task that is usually one of the most important ones to get a final touch your shot. So when your footage has a lot of details and is proboblay shot on black, like smoke, fire or in my example a firework, it can be helpful to use a logarithmic approach in terms of keying.
Even out Greenscreen
This is one of the tricks that comes in handy, whenever you have to deal with an unevenly lit green- or bluescreens, but it has to be said, that this is not a one click solution ...it will just bring you closer to the desired result.
Ok, here we go, another Keying Tip, which I have to use sometimes to enhance Edges. This is a nice trick especially when dealing with lower quality material, like DSRL greenscreens, where Edges often tend get jaggy or you end up having black or white outlines. So let's start
Nuke Unspill Method
Inspired by Steve Wrights’ Book “Digital Compositing for Film and Video” I want to show you how to create your custom despill Operation inside Nuke.
It is time to post a new tutorial, and this time I want to give you some tips on doing customization for a better workflow. As you probably know, Nuke is based on the programming language TCL, and with the help of some scripting knowledge you can easily set up some hotkeys or preferences. Now let's start:
Stabilize using Reconcile3D
I got really good feedback especially on the Reconcile3D Tutorial, so I decided to continue this with another tip of the month. This time I want to use matchmoving data to stabilize my footage. So for the 3d matchmove I usually use Pftrack, which is simple and really solid. You can use whatever software you like of course ;-)
Some quick Nuke Tips
This month I decided to show you some tips and tricks that will help you working with Nuke
Stereo 3D in Nuke
Hi,it has been a while since my last tutorial. I'm really busy at the moment but I couldn't resist on testing the new stereo3D abilities in Nuke.
Nuke Reconcile 3D
The reconcile 3D node was chosen, because it saved me so much time, that I spent in Shake tracking objects even though I had a 3d camera.