You're a great teacher, you explain things very well. I've used PxF_keyspill is my saving grace node, I often use it multiple times with a roto to isolate edges in the past to despill to specific colours, for example, one for hair, one for clothing and one for skin. I often use keylight for core despill it doesn't always work on edges because every edge can be different.
Seems that this edge despill mainly works for a constant colour background or one that is not changing in luminosity? Which is quite a rare case. You mention many times about the 0.05 alpha but seems that even with just 0.01-0.02 it's pretty visible for me. Guess it depends a bit on the background colour and luminosity as well
how do you interact with the colorist on composed shots? wich comes fist - the colorgrade , compose? And how to return the composed sequence to the colorist with an appropriate color space? Or do all composes graded in the same program they where composed (nuke in this case). Sorry for indistinct quastion, I am really puzzled by this step in production. Thank you for the course!
Basically the show(colorist/editorial) will deliver us the raw plate footage (muddy gray with all data in blacks and whites). They also deliver to us a LUT (current colorgrade the colorist has chosen). We do all our compositing on the plate footage WHILE looking at it through the added grade (like looking at something through contrast sun glasses). We then render and deliver the shot exported same as raw (muddy gray) as a FINAL and we ALSO deliver a quicktime compressed version with the LUT applied for tech checks to spot any mistakes. Hope that helps.
@@VFXforfilm thank you very much for your answer! Could you please clarify the background processing? In your lessons you paint on a background, how can a colorist work with that? If you render separatly, then how to retain the painting? Or do you return the composed (foreground+backgroung) in RAW?
I just wish that we could see the result of the keying against the background, so we don't spend much time experimenting on different techniques; otherwise, very good demonstration in showing different styles of keying. of course, thank you so much of this tutorials.
Daniel Katz 4:2:2 or 4:4:4, or Raw. More data in the channels to pull keys, compression muddys the chrominance separations of RGB making it hard to pull a key.
![Compositing Complex Shadows in Nuke [Advanced]](/img/1.gif)
You're a great teacher, you explain things very well.
I've used PxF_keyspill is my saving grace node, I often use it multiple times with a roto to isolate edges in the past to despill to specific colours, for example, one for hair, one for clothing and one for skin. I often use keylight for core despill it doesn't always work on edges because every edge can be different.
Seems that this edge despill mainly works for a constant colour background or one that is not changing in luminosity? Which is quite a rare case.
You mention many times about the 0.05 alpha but seems that even with just 0.01-0.02 it's pretty visible for me. Guess it depends a bit on the background colour and luminosity as well
how do you interact with the colorist on composed shots? wich comes fist - the colorgrade , compose? And how to return the composed sequence to the colorist with an appropriate color space? Or do all composes graded in the same program they where composed (nuke in this case). Sorry for indistinct quastion, I am really puzzled by this step in production.
Thank you for the course!
Basically the show(colorist/editorial) will deliver us the raw plate footage (muddy gray with all data in blacks and whites). They also deliver to us a LUT (current colorgrade the colorist has chosen). We do all our compositing on the plate footage WHILE looking at it through the added grade (like looking at something through contrast sun glasses). We then render and deliver the shot exported same as raw (muddy gray) as a FINAL and we ALSO deliver a quicktime compressed version with the LUT applied for tech checks to spot any mistakes. Hope that helps.
@@VFXforfilm thank you very much for your answer! Could you please clarify the background processing? In your lessons you paint on a background, how can a colorist work with that? If you render separatly, then how to retain the painting? Or do you return the composed (foreground+backgroung) in RAW?
Nice. What about the despill expression for the blue screen though?
There are many to choose from in Tony’s Nuke survival toolkit.
@@VFXforfilm super, thank you very much
Great video. Do you have a video on keying without a green screen / non destructive keying? Would you consider doing one? No great ones out there.
Rotobrush in After Effects. Or Alex Hannemans keying video.
I just wish that we could see the result of the keying against the background, so we don't spend much time experimenting on different techniques; otherwise, very good demonstration in showing different styles of keying. of course, thank you so much of this tutorials.
I saw the capital one add..Very nice..It's a good thing Samuel Jackson doesn't have any hair hahahaha...
Great class
Great tutorials
Joel Champ thanks, God given gift I guess :)
Is there a certain video format best shot for green screens? I use an a6400.
Daniel Katz 4:2:2 or 4:4:4, or Raw. More data in the channels to pull keys, compression muddys the chrominance separations of RGB making it hard to pull a key.
@@VFXforfilm Thank you, I think I confuse log and Raw, it's not quite the same is it.
Thank You :)
awesome tips! thank you)
i like it
what is the valume of the expression?
Pablo Sebastián Ramallo it’s a basic despill of green expression.