Week 1 – Introduction to Nuke

We learned the Nuke user interface and a few of its fundamental ideas throughout the first week of class. When you first launch Nuke, it might appear a little difficult, but after using it for a while, I think you’ll find it’s easier to use. Nevertheless, the application is a widely utilized node-based digital compositing and visual effects tool for post-production in both film and television. The Composite is a curriculum that focuses entirely on using Nuke software for compositing.

In the first week we looked at the interface of Nuke and learned some basic shortcuts such as F and H keys which scale up and frame the composition. We then created a basic animation.

First, we set the frames per second to 25 and the format to HD_1080 at Project Settings (S on the keyboard). After creating a Color Wheel, we added a grade node,  a blur node, a transform node and we played around with keyframes. 

In order to keep the script neat, we pressed command key to bring up a dot. We can also press “.” to bring up a dot we can connect to the relevant part.

RGB and ALPHA Channels

There are 3 channels of RGB. Press the ‘r’, ‘g’, and ‘b’ keys to display each channel individually in the viewer.

And Alpha is just Black and White channel. Press ‘a’ a to view the Alpha channel in the viewer.

Some Important Tip

The first thing that we have to do in Nuke is set up the project directory. With the cursor on the properties bin, press S to open up project settings. After setting up the project directory, go to File -> Insert Comp Nodes to import a script, then go to File -> Run Script or Open Comp. 

Merge node(M)

Later we learn about the merge node. And what the merge is doing is just combining foreground and background images into one. ‘M’ is a shortcut key for the merger node.

Foreground image

Background image

Final image

The merge node has two pipes, A and B, and B is the main pipe, so it will go into the background image, and A will go into the foreground image.

We did some experiments for the merge node.

Write node (Render Node) (W)

We also learn to render the image in nuke. To take out render in nuke, the write node is used, and the shortcut key for the write node is ‘W’, and this is a palce at the end of all nodes just before the view node. Then we have to go into properties > choose file type > and click on render.

Final render image

Merging assets using the merge node

Exercise 01

Exercise 02

Exercise 03

 

Week 2: Organization and Roto

In the VFX (Visual Effects) industry, “roto” refers to the rotoscoping process. Rotoscoping is a method for creating realistic, precise, and detailed animated sequences by tracing over live-action film footage frame by frame. Professionals with a focus on rotoscoping, or “roto artists,” are essential to the VFX pipeline.

A roto artist’s primary task is to manually remove elements from a live-action plate (the original footage) in order to distinguish them from the background. For many VFX tasks, like adding or changing backgrounds, adding CGI elements, or producing intricate visual effects, this procedure is necessary. Roto artists painstakingly trace the edges of objects, people, and other elements in every frame of the film using digital tools.

Rotoscoping is a laborious, meticulous process that needs accuracy to make sure the components blend in perfectly with the live-action video. For the creation of the intended visual effects in movies, TV series, advertisements, and other media productions, roto artists frequently collaborate closely with other experts in the VFX pipeline, such as compositors and CGI artists.

Max Fleischer – The invention of the The Rotoscope Machine

In 1915, animation pioneer Max Fleischer created the rotoscope machine. Animators were able to create realistic movements frame by frame with the help of this device, which projected live-action film onto a glass panel. The “Out of the Inkwell” series by Fleischer Studios benefited greatly from this innovation, which raised the caliber of character animation. The rotoscope left a lasting impression on animation and visual effects because it could capture the subtleties of life. Its success was best illustrated by Betty Boop’s creation. By revolutionizing the animation industry and influencing animators’ approach to realistic character movement, Fleischer’s invention has left a lasting legacy in the history of animation.

 

We study the foundations of rotoscope this week. Viewing the entire scene before starting work on it is crucial when creating roto. This allows us to assess the object’s stability and provides us with a summary of the frames, from which we can start performing rotoscoping.

How to Import Image Sequence using Read node? 

1. Press “R” in node graph to bring “Read node”

2. In File locate the image sequence directory and open it. for example here I import balls_roto.####.jpg

3. Other way is to drag and drop file directly into the nuke.

Exercise 01

It was necessary to set up the project directory and bring in the footage before starting to make a simple roto around the balls. Play the video a few times and analyze it to see if there is any motion blur or anything else. After you’re done, locate a frame that is the sharpest and doesn’t have any motion blur. Select the sharpest frame to be the hero frame.

Later, we’ll bring the copy and roto nodes, connect the B pipe to the footage, and connect the A pipe in the roto node. So the copy node uses the Alpha channel from the roto node and the RGB from the footage.

Alpha (A):

Premult Node:

Premult node will allow you to cut your roto from the background.

Blur Node(B):

A blur node can be added to the roto object to add motion blur. The node is frequently linked to both the Roto and Copy nodes’ Pipe A. The blur panel’s properties tab allows you to adjust the blur’s strength.

Deselect(D):

You can deselect or freeze a node from the pipeline by clicking the node you want to deselect and pressing the D key.

Matte(M):

By selecting the matte overlay from the top selection bar, you can use it to highlight your roto. Alternatively, you can use the keyboard shortcut M to access the short key.

Constant Node:

I used a constant node to adjust the background color of the frame after performing the rotation, then I used a color wheel to change the color to cyan. then I used merge node to combine foreground and background images into one. ‘M’ is a shortcut key for the merger node.

Original Video

Final Video

Basic Rotoscoping Showreel

Exercise 02

This second exercise was a little trickier because it required rotoing a moving object. The goal is to keep the roto attached to the object and make any necessary adjustments after rotoing the hero and last frames.

Manually tracking roto frame by frame, by selecting every point.

The video has a slight blur, so use the blur node to add motion blur as seen in the original footage.

The RGB channels are multiplied by the input’s alpha in Premult.

Grade Node

In order to add a grade node that will highlight the roto, I connected the grade node to the roto node, creating a mask that only affects the roto.

We can change the color of a Grade node after it has been created by choosing the multiply color wheel in the properties tab beneath the grade panel.

After creating a constant node, I gave it a color and set a premult node below the grade node to match the color of the roto building. Pipe A is connected to the Premult node as the foreground, and pipe B is connected to the Constant node as the background.

Original Video:

Final Video With Background:

Final Video:

Roto Showreel:

Week 3: Complex Roto

In this class, we study more complicated roto. Our goal was to quickly watch the footage of the hand wave in order to set up the hero frame. Next, we began by encircling the thumb with a small shape. The main tip I picked up was to roto the hand in small sections when performing a complex roto, like we did this week.

Outlines:

I first chose every shape in the roto and altered the blending mood to make a difference before creating the outline. I then used an Edgedetect node to alter the color from RGB to Alpha. Afterwards, I connected the B pipe to the constant node, the A pipe to the merge node, and changed the merge node’s operation to mask. I then connected another merge node to the footage.

Original Video:

Outlines:

Final Video:

Complex Roto Showreel:

 

Stencil merge

To demonstrate how this activity’s stencil margin functions. I surrounded my character, who is walking in front of the wooden bar, with pink color.

Afterwards, I rotate the wall that I wish to stencil merge

final video

Week 4: Basic Keying

Exercise01: Sky Replacement

This week, we learn basic keying with a straightforward exercise called “sky replacement.”

Luma key.

How to use the Luma key, commonly known as the Luminance key. And alpha needs to be turned on in order to see what it is affecting.

To see what’s happening, first run the yellow bars into an alpha channel.

Click the “invert” button in the keyer to flip it, then drag these bars together.

Next step is to make grass and bridge white.

Thein I got premolt node in.

To draw boundaries

In order to clarify boundaries, I added an addition node that is not part of the nuke.

Final Render

Exercise 02: Croma Removal

The second exercise we did was called green screen removal, or croma removal. The objective is to remove the woman from the green screen and replace the green screen background with an office.

keylight

Choose Color Picker from Keylight, press Ctrl + Alt, and click on the green area.

In order to make black more black and white more white, clone the base key and rename it as garbage key.

Merge mask operations

Here, in order to preserve hair detail, I combine both keys using mask operations.

 FilterErode Node.

FilterErode Node will expand white bouders so that it wont look to sharp arouind the model and we can get hair detail.

Stencil merge

Then I use stencil merge and did roto around model.

Due to the green screen, there is a green light bouncing around here.

To take away the green border I added a second key light and raised the green hue from 0 to 1.

Despill Madness

Or we can make use of We used the same extra node, Despill Madness, that we used in the previous example to get rid of it.

Original Video

Final Video

 

Showreel

 

WEEK5- Color And Grading

In Nuke, color and grading are essential for creating visual coherence and improving narrative. With Nuke’s color grading features, you may precisely manage a composition’s tone, mood, and overall appearance. Good color grading ensures a smooth integration by bringing different aspects together. It plays a crucial role in forming a coherent story by directing the audience’s emotional reaction. Furthermore, Nuke’s grading features are crucial for coordinating shots, harmonizing color, and producing a finished output. Color and grading are essential for enhancing compositions’ visual impact in Nuke, whether they are used subtly or dramatically.

Exercise 1- Color Grading

In the first exercise, we will color grade an earlier project in which we added an office image.  After the scene has been composited, we will now color grade it to make it look good because the colors did not work well with the scenario.

First, we imported a Grade node, called it LUMA, and then, using the Y key on the keyboard, we changed the RGB to Luminance. This will enable us to see the lady’s dark parts as well as the black area in the background scene.

Color Grad

 

Final Output

Exercise 2- luminescence

To verify the alpha channel, press Y on the keyboard.

Week 6: Tracking in Nuke

Adding the tracker.

This week, we gained knowledge on how to use basic tracking using a tracker node. After you get the node, you may click the “add track” button to make a tracker available in the viewer.

Original Video

Final Video

Exercise 2

Two trackers are added to the scene.

Added a roto to the location that is being tracked.

Windscreen track

The next thing we had to do was follow a windscreen over some moving video. Through the use of corner pin nodes, this led us to more intricate tracking. Unlike the one- and two-point tracks we had previously built, planner tracking was used for this.

First I made roto shape around windscreen.

I then clicked on the top of the bar to bring up the corner pin and performed  tracking.

Later, I got a grade node and used it to track windscreen glare. To do this, I created a roto around the windscreen once more, attached it using grade, and inserted a corner pin in between.

Original Video

First Try

Final Video

 

Week 7: Cleanup and Patch repair

We learned how to use the Roto Paint Node this week. We may do activities like eliminating tracking markings with the help of this really helpful tool.

Original Video

Final Video

 

Task 2

Patching someone out of a scene and smoothing the grain. We were instructed to take the old gentleman out of this scene for this task. First I used faramehold on that farm after tracking down a hero frame for the roto paint, and I brought both the copy and roto nodes in.

Finally, I used merge node to combine the main footage with premalt node and coply node.

Original Video

Final Video

 

Week 8: Key Skills recap – Launch Brief Part 1

Taking Out The Logo

I tracked the box’s movement first, then I located the hero frame, performed framehold, and rotate painted the box’s lid to create a whole plane box. and I combine it with the original movie.

Adding New Logo

After that, I got a new logo and altered its size and color scheme to make it look more unique. Finally, I added a defocous node to make it look even more impressive.

Week 9: Complex Cleanup -Submit Part 1 – Launch Part 2

I started with roto where there isn’t any movement.

Then drag to pick everything, then right-click to select “Track this shap(forw)” on the planner.

After tracking has been tuned, we will select cornerPin2D (relative, baked) on the first frame.

Then we’ll bring Farmehold and set it to 1001 which is hero frame.

I’ll roto the area where people are and bring coply node.

I’ll then bring some Roto Paint and begin painting the patch.

I then added blure to the roto and brought in Premoult.

In order for it to track and permolt together, I have now brought the merge node, combined the footage, and placed a tracker pin between the merge and permolt.

I received my grade and rotated that patch to produce the same atmosphere.

Original Video

Final Video

Cleanup Showreel

Assignment 01 – Technique

Original Video

Final Video

Showreel 

 

Assignment 02 – Creative

Assets Used

 

Keying

I started by doing key lighting first.

I started by adding the name and key lighting as a base key, coply pasting it for the garbage key, and crisping the alpha. Afterwards, I combine both keys with the merge mask.

I then used a roto node to remove any unwanted areas from the scene and applied  Filter Erode to bring the details back.

I had trouble blending the background with the video; it did not seem well. I inserted the reformat node after that, and it worked really well.

Next, add a node known as Despill Madness, which was created by indigenous people and aids in reducing the amount of green space we have available for cultivation.

Logo Adding

Later, I tried to add a logo to my comp. To do so, I inserted a reform node, a transform node to position it precisely, and a corner pin to give it the right angle.

I was unable to track correctly.

I looked into smart vectore because tracking with tracking nodes wasn’t very accurate, and while it wasn’t perfect, it was good enough to work.

Color Correction and transform nodes 

Later, I used various nodes to perform color correction.

I used the luma, blure, and defocus nodes to make the logo blurry and defouse. I also used the transformer node to change the logo’s pace and cornerpin to bend it at perfect angles. Later, I added saturation.

Logo test render

To create the background, I first used a mirror node to change the side of the background. Next, I animated the background using a transform node. Finally, I used a defocus and blur node to create noise, and a garde node to alter the tone of the background and atmosphere.

In order to avoid losing any details, I used keylighting nodes to time the main footage. Garbage KEU=Y is used to remove garbage from the footage, and I used Filter Erosion to bring details back. I merged this with Base Key, removed some roto where I wanted the background to be, and stenciled it so that the background would return and my footage would remain in focus. Afterwards, I added the Despil Madness node, which helped me remove the greens from the video, and I graded the footage based on the mood of the scene.

I tried logo tracking, but for some reason it wasn’t meeting my needs, so I decided to drop that plan and proceed using Smart Vectore Node.

I choose to make use of the smart vector node. To perform this operation, I first extracted the vector file in .exr format and used the Vectore Distort Node. and used a transform node to position my logo precisely, changing its brightness and saturation while adding a subtle shadow to it.

To do something extra, I added laser and blast in my composion.

Original video

Final Video

Compositing Breakdown