cmiVFX - Nuke Advanced Keying And Channel Operations with- Expressions
Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution. Having access to the component parts of a multiple layer keyer can help you hone in on problem areas and solve your keying issues in less time - freeing up time to refine the composite layers and blending. (see also Modular Keying)
Combining Mattes: Inside, Outside & Edge Approach
Nuke & NukeX come with a range of excellent keyers. All of them are able to produce (and output) an alpha channel and matte. These mattes can be combined for a more refined approach when a single key does not achieve the desired result. One method can create a solid, or hard, "inside matte
Nuke Advanced Keying And Channel Operations with Expressions
Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution. Having access to the component parts of a multiple layer keyer can help you hone in on problem areas and solve your keying issues in less time - freeing up time to refine the composite layers and blending. (see also Modular Keying)
Combining Mattes: Inside, Outside & Edge Approach
Nuke & NukeX come with a range of excellent keyers. All of them are able to produce (and output) an alpha channel and matte. These mattes can be combined for a more refined approach when a single key does not achieve the desired result. One method can create a solid, or hard,
cmiVFX
In this in-depth training video you will learn, step-by-step, to create perfect mattes from green/blue screen footage (process screens) in Nuke. You will learn to use multiple keying approaches that will prepare you for any shot, and the various challenges that inevitably arise. You will learn proven ways to fix problems, such as preserving hair detail and removing color spill from process screens. Color spill is almost always a problem and dealing with it is one of the most important aspects of integrating your process screen elements into a shot. After learning these techniques Nuke will become an indispensible solution for even the most challenging keying and channel operations.
Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution.
cmiVFX - Nuke Advanced Keying And Channel Operations with Expressions
Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution. Having access to the component parts of a multiple layer keyer can help you hone in on problem areas and solve your keying issues in less time - freeing up time to refine the composite layers and blending. (see also Modular Keying)
Combining Mattes: Inside, Outside & Edge Approach
Nuke & NukeX come with a range of excellent keyers. All of them are able to produce (and output) an alpha channel and matte. These mattes can be combined for a more refined approach when a single key does not achieve the desired result. One method can create a solid, or hard, "inside matte” that removes all the unwanted noise from the outside of the matte. Once this hard matte is created, the artist can focus on refining the edges of the subject to extract all the detail required. You will learn which shots are the most appropriate for this more advanced approach to keying. There are several training videos that focus on this approach to keying as well as some free ones in our library.
Combining Mattes: Individual Areas of Interest
A general key might give a good matte, but there are usually areas that need special treatment, i.e. hair, a dark shoulder etc. Utilizing what is known as an "area of interest” we can focus on specific areas in the matte and produce a key that addresses the specific problems for just this selected area. When several mattes of this kind are combined into one matte it is possible to solve an array of complex keying problems. This method can also be used in conjunction with the "Inside, Outside & Edge Approach". If you are familiar with "Maynard Keying" or "Blocking Out" techniques (please refer to further cmiVFX keying videos on these subjects) this section of the video will enable you to construct powerful procedural keyers with the utmost control.
Despill
When working with green or blue screen material it is very common for the color of the process screen to reflect onto the subject. This "spill” will appear as a color cast on the subject when included in your composite. The use of some simple expressions can remove this color cast and enable you to achieve the best possible result. A substantial degree of control over the "despill” area can be achieved in Nuke by the use of a despill node network. Expressions are non-intuitive to many beginners but just a limited knowledge of some simple expression code can save any artist a ton of valuable time. This portion of the video is a staff favorite!
Changing the Color of the Despill
Simply suppressing the spill color does not always improve the integration of the element into the shot. Usually this method simply introduces a different cast to the subject’s edges. When the "despilled” color is not present in the background element it will be just as out-of-place as the spill itself! In this chapter you will learn how to change the spill color to integrate with the colors in the background plate. There are several ways to do this using one of several applications. However, one method is faster than the others in most scenarios. We will share the proven method that our research shows is the best and quickest process!
Retrieve Edge Detail
Even when a good, basic key is obtained it is still likely that some of the edge detail will be lost along the way. This is almost always true when one relies on the use of a single commercial keyer. You can make your life so much easier by learning an alternative solution that enables you to retrieve that missing detail. Using a clever method of applying the original foreground element over the background plate (prior to adding our keyed element on top) you can achieve an astounding result in no time – a technique that you will use over and over again.
Evening / Leveling Green Screen
In order to use the above method to recover edge detail, you will need a consistent, flat process screen with no irregularities. Such a flat process screen would also be handy for other operations. By comparing a clean plate, the actual shot, and a solid green constant we can produce a matte that will enable us to level out any irregularities in the screen as it was shot on set or location. It is true that even the best Visual Effects Supervisor can be forced by time constraints or other circumstances to present you with a less than optimal process screen! This method of achieving a flat green screen is invaluable.
Mocking Up a Clean Plate
Quite often shortcuts in production, as illustrated above, can mean more work for the artist. An adequate clean plate is not always supplied with a set of shots. There are ways an artist can create such a clean plate from the available elements and solve various problems in the shot. One method is to remove the foreground that was shot in front of the process screen and use neighboring colors to fill in the void. This is known as "color remapping”. Once a clean plate is produced it can be used to help produce a flat process screen that can be used to retrieve the finest edge detail. This technique can even be used to extract a key for an object on a background that was never intended as a keying scenario - without process screens.
Light Wrap
The effect of light coming from the background and engulfing the foreground element can be essential to make a shot look convincingly real. We will show you how to quickly build such a set up that will give you full control of this effect. This will allow you to produce realistic light wraps rather than just a bright fringe that other methods simply add around the foreground object.
This is not your basic keying video. We bring you in-depth, "software impartial” and intuitive techniques to add to your arsenal - techniques that you will use in your own workflow every day. We are very excited to bring you these tools because we know they will make your job easier and much more fun!
Download :
http://www.wupload.com/file/39923296/_cmiVFXNukeAdvancedKeyingChanneOperat.part1.rar
http://www.wupload.com/file/39923309/_cmiVFXNukeAdvancedKeyingChanneOperat.part2.rar
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.
cmiVFX - Nuke Face Replacement
A great tutorial using After Effects - This is really helpful training for you. I hope you like it ! Enjoy !
Screen:
DOWNLOAD LINS:
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[EX] NUK103 - Introduction to Nuke PLUS Extra Contents
Class 4: Jumping into our first production shot utilizing the RotoPaint tool, special keying techniques and boatloads of challenges to keep you comping for hours and hours.
Class 5: Seeing Green: The starting foundation for a long career of keying and edge work starts here.
Class 6: Introduction to nuke's third dimension!
Class 7: An introduction to the great and powerful CameraTracker and the even more great and powerful project3D node. Your compositing life will never be the same again!
Class 8: A detailed introduction to the power, uses and flexibility of Mulit-pass Compositing. This class also covers more detail and function in nuke's unique channel operations.
Class 9: Part 02 of a detailed introduction to the power, uses and flexibility of Multi-pass Compositing. We'll also introduce some 3D re-lighting and re-texturing techniques.
Class 10: We end the term with a intensive look into camera projections, tracking rotation only camera moves and a shot that will allow your creative juices to flow freely.
More Video Tutorials: downloadmoon.com
Download Links :
http://extabit.com/file/2dby82gg8zem6/
No Password
FXPHD - NUK103 - Introduction to Nuke PLUS Extra Contents
Class 1: Nuke the interface. For the first class we will go through all the ins and outs of nuke's robust interface and touch briefly upon a few different tools to get us up and running very quickly.
Class 2: Cookie cutting, rotoscoping and fun with splines in an introduction to nuke's powerful roto tools.
Class 3: 2D/Pattern tracking and all the in's and out's of image transformations in nuke, including shot stabilization and corner pins!
Class 4: Jumping into our first production shot utilizing the RotoPaint tool, special keying techniques and boatloads of challenges to keep you comping for hours and hours.
Class 5: Seeing Green: The starting foundation for a long career of keying and edge work starts here.
Class 6: Introduction to nuke's third dimension!
Class 7: An introduction to the great and powerful CameraTracker and the even more great and powerful project3D node. Your compositing life will never be the same again!
Class 8: A detailed introduction to the power, uses and flexibility of Mulit-pass Compositing. This class also covers more detail and function in nuke's unique channel operations.
Class 9: Part 02 of a detailed introduction to the power, uses and flexibility of Multi-pass Compositing. We'll also introduce some 3D re-lighting and re-texturing techniques.
Class 10: We end the term with a intensive look into camera projections, tracking rotation only camera moves and a shot that will allow your creative juices to flow freely.
Extra Contents e.g. Exercises etc are included.
Download Single Extraction from Extabit
http://extabit.com/file/2dvl07do1uoyi/
FXPHD - NUK103 - Introduction to Nuke DVDR-W3D
Class 4: Jumping into our first production shot utilizing the RotoPaint tool, special keying techniques and boatloads of challenges to keep you comping for hours and hours.
Class 5: Seeing Green: The starting foundation for a long career of keying and edge work starts here.
Class 6: Introduction to nuke's third dimension!
Class 7: An introduction to the great and powerful CameraTracker and the even more great and powerful project3D node. Your compositing life will never be the same again!
Class 8: A detailed introduction to the power, uses and flexibility of Mulit-pass Compositing. This class also covers more detail and function in nuke's unique channel operations.
Class 9: Part 02 of a detailed introduction to the power, uses and flexibility of Multi-pass Compositing. We'll also introduce some 3D re-lighting and re-texturing techniques.
Class 10: We end the term with a intensive look into camera projections, tracking rotation only camera moves and a shot that will allow your creative juices to flow freely.
Download link:
Rapidgator
http://rapidgator.net/file/6385122/FXPHD.101.INTRODUCTION.TO.NUKE.DVDRW3D.part1.rar.html
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cmiVFX - Nuke_Advanced Keying And Channel Operations with Expressions
In this in-depth training video you will learn, step-by-step, to create perfect mattes from green/blue screen footage (process screens) in Nuke. You will learn to use multiple keying approaches that will prepare you for any shot, and the various challenges that inevitably arise. You will learn proven ways to fix problems, such as preserving hair detail and removing color spill from process screens.
Color spill is almost always a problem and dealing with it is one of the most important aspects of integrating your process screen elements into a shot. After learning these techniques Nuke will become an indispensible solution for even the most challenging keying and channel operations.
Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution. Having access to the component parts of a multiple layer keyer can help you hone in on problem areas and solve your keying issues in less time - freeing up time to refine the composite layers and blending. (see also Modular Keying)
Combining Mattes: Inside, Outside & Edge Approach
Nuke & NukeX come with a range of excellent keyers. All of them are able to produce (and output) an alpha channel and matte. These mattes can be combined for a more refined approach when a single key does not achieve the desired result. One method can create a solid, or hard, "inside matte” that removes all the unwanted noise from the outside of the matte. Once this hard matte is created, the artist can focus on refining the edges of the subject to extract all the detail required. You will learn which shots are the most appropriate for this more advanced approach to keying. There are several training videos that focus on this approach to keying as well as some free ones in our library.
Combining Mattes: Individual Areas of Interest
A general key might give a good matte, but there are usually areas that need special treatment, i.e. hair, a dark shoulder etc. Utilizing what is known as an "area of interest” we can focus on specific areas in the matte and produce a key that addresses the specific problems for just this selected area. When several mattes of this kind are combined into one matte it is possible to solve an array of complex keying problems. This method can also be used in conjunction with the "Inside, Outside & Edge Approach". If you are familiar with "Maynard Keying" or "Blocking Out" techniques (please refer to further cmiVFX keying videos on these subjects) this section of the video will enable you to construct powerful procedural keyers with the utmost control.
Despill
When working with green or blue screen material it is very common for the color of the process screen to reflect onto the subject. This "spill” will appear as a color cast on the subject when included in your composite. The use of some simple expressions can remove this color cast and enable you to achieve the best possible result. A substantial degree of control over the "despill” area can be achieved in Nuke by the use of a despill node network. Expressions are non-intuitive to many beginners but just a limited knowledge of some simple expression code can save any artist a ton of valuable time. This portion of the video is a staff favorite!
Changing the Color of the Despill
Simply suppressing the spill color does not always improve the integration of the element into the shot. Usually this method simply introduces a different cast to the subject’s edges. When the "despilled” color is not present in the background element it will be just as out-of-place as the spill itself! In this chapter you will learn how to change the spill color to integrate with the colors in the background plate. There are several ways to do this using one of several applications. However, one method is faster than the others in most scenarios. We will share the proven method that our research shows is the best and quickest process!
Retrieve Edge Detail
Even when a good, basic key is obtained it is still likely that some of the edge detail will be lost along the way. This is almost always true when one relies on the use of a single commercial keyer. You can make your life so much easier by learning an alternative solution that enables you to retrieve that missing detail. Using a clever method of applying the original foreground element over the background plate (prior to adding our keyed element on top) you can achieve an astounding result in no time – a technique that you will use over and over again.
Evening / Leveling Green Screen
In order to use the above method to recover edge detail, you will need a consistent, flat process screen with no irregularities. Such a flat process screen would also be handy for other operations. By comparing a clean plate, the actual shot, and a solid green constant we can produce a matte that will enable us to level out any irregularities in the screen as it was shot on set or location. It is true that even the best Visual Effects Supervisor can be forced by time constraints or other circumstances to present you with a less than optimal process screen! This method of achieving a flat green screen is invaluable.
Mocking Up a Clean Plate
Quite often shortcuts in production, as illustrated above, can mean more work for the artist. An adequate clean plate is not always supplied with a set of shots. There are ways an artist can create such a clean plate from the available elements and solve various problems in the shot. One method is to remove the foreground that was shot in front of the process screen and use neighboring colors to fill in the void. This is known as "color remapping”. Once a clean plate is produced it can be used to help produce a flat process screen that can be used to retrieve the finest edge detail. This technique can even be used to extract a key for an object on a background that was never intended as a keying scenario - without process screens.
Light Wrap
The effect of light coming from the background and engulfing the foreground element can be essential to make a shot look convincingly real. We will show you how to quickly build such a set up that will give you full control of this effect. This will allow you to produce realistic light wraps rather than just a bright fringe that other methods simply add around the foreground object.
This is not your basic keying video. We bring you in-depth, "software impartial” and intuitive techniques to add to your arsenal - techniques that you will use in your own workflow every day. We are very excited to bring you these tools because we know they will make your job easier and much more fun!
Homepage:
http://www.cmivfx.com/tutorials/view/271/Nuke+Advanced+Keying+and+Channel+Ops
Download
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[cmiVFX] Blender GreenScreen Keying Concepts [2011, ENG]
Custom Keyer
When the standard keying-nodes are not enough, you can still build your own keyer to fit your needs. Separating an image into different channels gives you a lot of control over each color and with some pixel math and rewiring you can come up with your own self made keys that sometimes work better and give more detail than the off-the-shelf solutions. Combined with garbage-mattes and rotoscoping you can solve even difficult shots with motion-blur, reflections and unevenly lit green screen.
Enhancements
But even the best alpha-channel will not help if your image suffers from color spill and doesn
[NL] CMIVFX Houdini Procedural Modeling Of Cities
totally from scratch to a fully detailed building, and gives you solid methods to tackle down many workflow issues during the creation of a large scene with its unique "divide and solve" techniques. Learn how to create complex city patterns, both regular and irregular. Create a fully customizable building. Learn how to use procedural modeling, expressions, copy of operations, procedural shading, and texturing. Remember the old saying "Rome wasn't built in the day". Well with this video, and the "incredible Houdini" software prove it wrong.
More Video Tutorials: downloadmoon.com![[NL] CMIVFX Houdini Procedural Modeling Of Cities](http://i28.fastpic.ru/big/2012/0310/5a/4a067068a44ce8c55e2cf07aa909f45a.jpg "[NL] CMIVFX Houdini Procedural Modeling Of Cities")
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[NL] CMIVFX Houdini Procedural Modeling Of Cities
totally from scratch to a fully detailed building, and gives you solid methods to tackle down many workflow issues during the creation of a large scene with its unique "divide and solve" techniques. Learn how to create complex city patterns, both regular and irregular. Create a fully customizable building. Learn how to use procedural modeling, expressions, copy of operations, procedural shading, and texturing. Remember the old saying "Rome wasn't built in the day". Well with this video, and the "incredible Houdini" software prove it wrong.
More Video Tutorials: downloadmoon.com
Download Links :
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Say Thanks :)
The Gnomon Workshop Advanced Particle Expressions With Andrew Orloff In Maya DVD
TOPICS COVERED:
Conditional Statements
The Modulus Operator
The Event Attribute
Curve Functions
Ramp Imputs
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FXPHD NUK103 - Introduction To Nuke
DESCRIPTION:
Taught by Sean Devereaux, this new introductory course will expand upon the Foundry Nuke tutorials produced by fxphd. Nuke version 6.1 software will be available over the VPN to fxphd postgrads for non-commercial use (OSX, Linux, and Windows versions). Devereaux has pushed pixels on over 25 feature films and 50 commercials. He is currently a vfx supervisor at ZERO VFX in Boston.
His feature credits include Transformers, The Proposal, Peter Pan and Vanilla Sky and he has worked with some of the best studios in the world including Pixar, Digital Domain and Industrial Light+Magic.
Class 1: Nuke the interface. For the first class we will go through all the ins and outs of nuke�s robust interface and touch briefly upon a few different tools to get us up and running very quickly.
Class 2: Cookie cutting, rotoscoping and fun with splines in an introduction to nuke�s powerful roto tools.
Class 3: 2D/Pattern tracking and all the in�s and out�s of image transformations in nuke, including shot stabilization and corner pins!
Class 4: Jumping into our first production shot utilizing the RotoPaint tool, special keying techniques and boatloads of challenges to keep you comping for hours and hours.
Class 5: Seeing Green: The starting foundation for a long career of keying and edge work starts here.
Class 6: Introduction to nuke�s third dimension!
Class 7: An introduction to the great and powerful CameraTracker and the even more great and powerful project3D node. Your compositing life will never be the same again!
Class 8: A detailed introduction to the power, uses and flexibility of Mulit-pass Compositing. This class also covers more detail and function in nuke�s unique channel operations.
Class 9: Part 02 of a detailed introduction to the power, uses and flexibility of Multi-pass Compositing. We�ll also introduce some 3D re-lighting and re-texturing techniques.
Class 10: We end the term with a intensive look into camera projections, tracking rotation only camera moves and a shot that will allow your creative juices to flow freely.
DOWNLOAD:
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Digital-tutors: Rotoscoping Techniques in Nuke
In this series of lessons we’ll learn how to use the tracking, keying and masking nodes in Nuke to create a fast, robust rotoscope shape. By using each node for their specific strength, we’ll be able to achieve production-quality results much faster than hand keying.
cmiVFX - ZBrush Masterclass Volume 1&2 Character Creation | 1.7 GB
In this video, we will be diving into the world of creating highly detailed characters. To start we will create a block of digital thumbnails. Then we enter ZBrush 4R2 where we will discuss using new features mixed with traditional sculpting techniques that will enable us to create new characters quickly.
Here at cmiVFX we maintain a current training library for the latest versions of popular software titles. When it comes to high end CG and VFX training, there is only once choice... cmiVFX!
Download:
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All Links Are Interchangable
[NL] Advanced Compositing Workflows with Maya and Nuke
In this series of lessons, we will be taking you through the process of rendering your Maya scene into multiple passes, and using some advanced techniques for compositing these passes using Nuke.
We will dedicate the first portion of this course to using Render Passes in Maya to separate various elements of our scene at render time.
We’ll use mental ray’s render passes, contribution maps,custom framebuffers, and render layers to create the necessary render passes for our scene. In the second portion of this course we will begin with some quick compositing similar to our Multi-Channel Compositing in Nuke course, but we will quickly get into more advanced topics such as Depth-of-Field, Depth-based compositing, working with HDR data, painting fixes and chromatic aberration.
More Video Tutorials: downloadmoon.com
Download Links :
http://www.netload.in/dateiqeUcKzbOZU/Advanced_Compositing_Workflows.rar.htm
Say Thanks
cmiVFX - Nuke Color Masterclass
Digital-Tutors - Multi-part Greenscreen Keying in NUKE 6.1
We will begin this project by importing our footage into NUKE and analyzing the job ahead of us. Then we will create garbage masks to break apart our person into manageable pieces. We will then add Keylight effects to our layers to create an initial key. After that, we will analyze the best way to remove noise on each layer. Then we will fill in our alpha by creating a core matte. Finally we will focus on the hair and all the detailed roto and keying work involved. We will complete the project by doing some heavy-duty rotoscoping work on the bottle.
All links below are interchangable. No password
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cmiVFX - Nuke Color Masterclass Dual Video Kit
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