Alex?! No way! I was trying to remember this setup you showed me on Justice League but couldn't find the shot I used it in so I googled it and your video popped up to explain it to me again. Hope you're doing well!
That UV space in the modelbuilder was new to me.... I always love when you put hands onto faking light/2d light as for the pipe at the end. When have you started to dig into light itself? Like when did you start to train? Did you look at paintings/museum and try to understand how they drew it or why the light would fall down there etc? How often in your beginning years would you seek help to understand the light in your shot to try to replicate it on surfaces?
Definitely understanding light is a big part of compositing. The best way to learn in my opinion is through photography and lightroom (painting light), and also traditional or digital painting. Mostly I learned through doing a lot of photography and lightroom, but then working in big visual effects studios and being around very talented artists and supervisors. I’m also pretty obsessive about studying films, concept art, cinematography, etc. so a lot of that comes from those studies. Also knowing some 3d / texturing / lighting helps have a wider understanding. I’m working on developing and co-directing my own CG film currently, so a lot of time is spent studying all of these things, all the time. Much more than people realize!
Hi Alex, thank you so much. Will try it just on Monday with a few shots where that coming in handy. Now I have to check if you have also something for me to auto colour correct my patch. I took a curve tool for the data, but my patch has to match the colour of a moving object tool which goes from light to shadow and back. Have to find out, what is the best and easiest way to connect to a grade node or do I have to do it manually. Anyway, with your explanation, I understood what you are doing. Still loving your course from Udemy.
I have an interesting shot coming to me. A transition between two completely different shots, two different camera tacks which will need a 3rd animated camera to join the two shots. Its gonna be a mind fuck. I see myself uv baking the in and out shots from some frame point, mathematically through expressions to diminish the camera moves and apply the same camera animation to the in and outs to be able to dissolve between the two. Not entirely sure how to do that. But I've done impossible shots before, so who knows. You should have seen my shot for the TROY tv series with a camera following a bunch of horses on a beach, and I had to remove the tyre tracks in the sand - HUGE UV and tonnes of particle work to kick sand up and ground contact.
@@CompositingAcademy oh boy....this one is beating me. Firstly, even with a lensgrid, the camera solve on a flat wall is coming out curved and I cant figure out how to align the two solves, add an animated move through the dissolve, and... and ...all of it. Nuke cameras and scenes are so unintuitive. Suggested video about Cameras and Scenes, their manipulation... have a secondary camera follow another camera. All that juicyness, as there is NO INFORMATION I can find
Hey Yash, Generally I do that because it’s slightly faster on the keyboard. The first letters “E and X” are closer to the left hand so I can just tap it quickly versus going for shuffle. Then I can just put a 1 or 0 versus clicking stuff. Probably is about the same but generally I find it slightly quicker
Nice n informative please also on CG pass render and Maya to Nuke camera export with CG model with both texture and animation and CG comp in nuke tutorials please hi sir myself Rony an VFX student from India
![Compositing Complex Shadows in Nuke [Advanced]](http://i.ytimg.com/vi/Yb3Cn3JnkUI/mqdefault.jpg)
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Holy cow I found this at 3am desperate for this exact way to make projections stick to alembic animated geos, you saved my assignement!
what a treasure of a channel
great tut ! we need one on how to improvise different passes, had no idea you could fake ambient occ, nice one !
Good tut! Your flying manhole cover has inspired me haha
Thank You so much my friend, for making this wonderful stuff for free. Always learn something from you
Wonderful video. Do you happen to have any on just using the "UV project" node instead of project 3d node?
Yes! This was a great breakdown, thanks so much!
Thanks man this tutorial is AMAZING
Thanks man you are an awesome teacher and i've learned a lot from you !
I love you videos too much. every time you blow my mind.
This is great! Very helpful.
Alex?! No way! I was trying to remember this setup you showed me on Justice League but couldn't find the shot I used it in so I googled it and your video popped up to explain it to me again. Hope you're doing well!
Hey man! Awesome haha, hope you are doing well too!
this content is so valiouss! thanks for sharing your knowledge Alex!
Great stuff sir!!!
You shall never have a dislike !
That UV space in the modelbuilder was new to me....
I always love when you put hands onto faking light/2d light as for the pipe at the end. When have you started to dig into light itself? Like when did you start to train? Did you look at paintings/museum and try to understand how they drew it or why the light would fall down there etc?
How often in your beginning years would you seek help to understand the light in your shot to try to replicate it on surfaces?
Definitely understanding light is a big part of compositing. The best way to learn in my opinion is through photography and lightroom (painting light), and also traditional or digital painting. Mostly I learned through doing a lot of photography and lightroom, but then working in big visual effects studios and being around very talented artists and supervisors.
I’m also pretty obsessive about studying films, concept art, cinematography, etc. so a lot of that comes from those studies. Also knowing some 3d / texturing / lighting helps have a wider understanding.
I’m working on developing and co-directing my own CG film currently, so a lot of time is spent studying all of these things, all the time. Much more than people realize!
@@CompositingAcademy Thank you for this insight.
amazing.
Yes very useful method
Hi Alex, thank you so much. Will try it just on Monday with a few shots where that coming in handy. Now I have to check if you have also something for me to auto colour correct my patch.
I took a curve tool for the data, but my patch has to match the colour of a moving object tool which goes from light to shadow and back. Have to find out, what is the best and easiest way to connect to a grade node or do I have to do it manually. Anyway, with your explanation, I understood what you are doing. Still loving your course from Udemy.
That nuts! And yeah, nuke's UV unwrap sucks xD I prefer to use another soft like blender. Thanks for tutorial!
What tools are you missing the most regarding unwrapping UVs?
I have an interesting shot coming to me. A transition between two completely different shots, two different camera tacks which will need a 3rd animated camera to join the two shots. Its gonna be a mind fuck. I see myself uv baking the in and out shots from some frame point, mathematically through expressions to diminish the camera moves and apply the same camera animation to the in and outs to be able to dissolve between the two. Not entirely sure how to do that. But I've done impossible shots before, so who knows. You should have seen my shot for the TROY tv series with a camera following a bunch of horses on a beach, and I had to remove the tyre tracks in the sand - HUGE UV and tonnes of particle work to kick sand up and ground contact.
Stitching camera moves and dissolving shots can be very difficult! I’ve done a few of those as well, definitely requires a great deal of patience!
@@CompositingAcademy oh boy....this one is beating me. Firstly, even with a lensgrid, the camera solve on a flat wall is coming out curved and I cant figure out how to align the two solves, add an animated move through the dissolve, and... and ...all of it. Nuke cameras and scenes are so unintuitive. Suggested video about Cameras and Scenes, their manipulation... have a secondary camera follow another camera. All that juicyness, as there is NO INFORMATION I can find
You use Expression quite a lot for Making Alpha 1 if I'm correct. Why is that?
Hey Yash,
Generally I do that because it’s slightly faster on the keyboard. The first letters “E and X” are closer to the left hand so I can just tap it quickly versus going for shuffle. Then I can just put a 1 or 0 versus clicking stuff.
Probably is about the same but generally I find it slightly quicker
Ohhhh new tut tq
hello sir where can i downlaod NK202 project files? i have already done 101 its superb
Hey there,
Feel free to message on Udemy about that. If you are enrolled in Nk202, the project files are included the same way as Nk101.
Nice n informative please also on CG pass render and Maya to Nuke camera export with CG model with both texture and animation and CG comp in nuke tutorials please hi sir myself Rony an VFX student from India