I truly appreciate the effort and dedication you put into creating accurate and well-presented compositing tutorials. It's refreshing to come across content that is informative and skillfully presented. Keep up the exceptional work, and know that your contributions are valued and appreciated.
I'm an after effects user but I always watch his tutorials. And hopefully one day I'll dare to install this Nuke by getting inspired by his tutorials :D
@@CompositingAcademy Thanks for your reply. Yeah, 100%! no doubt! I die to see one day I'm working with Nuke smoothly. But it's something between me and node based programs TBH. I may need to talk a therapist for it :D
@@jokerarthas42 I was the like you and now, when I try to learn a software which is not node based, it's painfull because nodes are really intuitive in fact
Bro, keep doing this stuff, I'm gathering the funds to make a purchase of your course. I like how you are tying your comp info with emerging tech. Hope this encourages you!.
Great tutorial as always! I'm curious as this isn't covered in your video, if you have a lidar scene, and then you track your camera, how do you accurately position the camera correctly in the 3D scene relative to the lidar data? Would also love to see a lidar scan video. Thanks
Once you do your camera tracker you use your points (iuser tracked, I believe you can use the auto tracked points but idk) and link them to a vertex (right click (i think) -> user tracks -> and snap to vertex selection. you do this a couple times in different areas and it should be aligned fairly well if your lidar is accurate, you may need to adjust the x and y on your user track to shift it if its slightly off, sorry if this is slightly incorrect i dont have nuke infront of me atm. I prefer to do this in 3dequalizer tho, I think nukes 3d system is a little odd for me. I really like VFX tutors tutorial on matchmoving it pretty much achieves the exact same result the video is called "3DEqualizer Free PLE version Tutorial - Create a Matchmove Reel For FREE Pt.4"
Pretty much what the other commenters said! I just lined it up by eye to the camera's point cloud. It's not completely perfect doing it this way, but it works. There is another way by using User tracks imported into the camera tracker, and you can pin features to geometry vertices, this article explains it: learn.foundry.com/nuke/content/comp_environment/cameratracker/3d_survey_points.html I haven't personally had to do this process in a very long time, usually with super detailed & tight tracks a Matchmove artist will do this process in Syntheyes or 3D Equalizer as those tools have really detailed ways of achieving super tight tracks. Working on films if a lidar scan was taken, before it comes to you usually a matchmove artist will line up the lidar for the compositors for the whole sequence, so the compositors will just load it in for whatever shot they're working on. Film lidar scanners are much more detailed than the iphone one, sometimes down to millimeter accuracy. In smaller studios, you might have to do this process yourself, but if it's a commercial studio having lidar in the first place might be rare unless the visual effects supervisor took the time to capture one. If it's a more complex shaped set they might take it, but it depends on the budget and time they had, etc. Even just lining it up manually though is a great thing to have for your own projects though. When I do my own projects I usually go around and capture whatever scene measurements with a measuring tape / lidar / HDR spheres, lens grid, etc - all the stuff a visual effects supervisor would capture on a film shoot. The more data you have later, it makes it easier to put CG stuff in and make sure it's all the right size / lighting / lens distortion.
Hey there, this is just a geometry that the app creates. Polycam will create a .fbx or .obj file, and you can load this file into nuke using a Readgeo node. It was then manually lined up using a TransformGeo against the Cameratrack point cloud to make it match the scene.
Thank you for the tips but i want to constructively criticize something that probably you know and left out intentionally. The area of grass you replaced is darker then the rest of the patch because the object there is creating soft area contact shadows from the cloudy day and diffused light around it. If you remove the object you should correct the exposure of the patch to be similar to the grass around where is exposed to the sun/sky. Right now the attention is drawn to it by then small different in exposures and always take in to account the light and shadows contribution when removing stuff. Nice tutorial anyway. Thank you.
Hm yeah you might be right. I was reading at it as more just dead grass or darker patches of grass mixed in, but probably could use a slight brighten anyway since it’s supposed to be flatter as well
I guess what you are looking for is the wireframe shader. If you mean the dots, then try to generate particles with the object as source + spread and velocity set to 0 Alex' video can be watched nevertheless when its out :D
Yep exactly, you can just use the mix control on a merge node to fade it on or off, or you can use a dissolve node if you want to blend between two different images on the same layer
![Compositing Complex Shadows in Nuke [Advanced]](http://i.ytimg.com/vi/Yb3Cn3JnkUI/mqdefault.jpg)
![Re-lighting Real Footage | Nuke Compositing [Advanced]](/img/n.gif)
I truly appreciate the effort and dedication you put into creating accurate and well-presented compositing tutorials. It's refreshing to come across content that is informative and skillfully presented. Keep up the exceptional work, and know that your contributions are valued and appreciated.
Thanks for your kind words! I'm glad you find the tutorials helpful. Your support motivates me to keep improving.
Always learning a lot from your tutorials Alex! Really looking forward to NK707!
Thanks, I can't wait to see a practical class on this topic plus wire removals. I love your tutorials. I love the way you break down things.
Really really appreciate this! Thank you.
I'm an after effects user but I always watch his tutorials. And hopefully one day I'll dare to install this Nuke by getting inspired by his tutorials :D
it's definitely worth the switch in the long run. I used after effects before, a lot of concepts will transfer over!
@@CompositingAcademy Thanks for your reply. Yeah, 100%! no doubt! I die to see one day I'm working with Nuke smoothly. But it's something between me and node based programs TBH. I may need to talk a therapist for it :D
@@jokerarthas42 I was the like you and now, when I try to learn a software which is not node based, it's painfull because nodes are really intuitive in fact
@@nihilusedit1447 wow, I'd like to know how you could change like that. what's your secret my friend? :)
@@nihilusedit1447 wow, I'd like to know how you could change like that. what's your secret my friend? :)
Bro, keep doing this stuff, I'm gathering the funds to make a purchase of your course. I like how you are tying your comp info with emerging tech. Hope this encourages you!.
🔥🔥🔥solid information Alex!
Nice tutorial! Watching while doing some comp for work
Good Job,
Thanks for sharing.
great stuff mate 🔥
Hello! You are doing a very great job. Thank you very much! Will you be making a video tutorial on how to make a "fake hole" from your Shorts video?)
Hey! Thank you. Yep that should be coming in the next week or two, I have pre-recorded some tutorials already so one will release per week
Great tutorial as always! I'm curious as this isn't covered in your video, if you have a lidar scene, and then you track your camera, how do you accurately position the camera correctly in the 3D scene relative to the lidar data? Would also love to see a lidar scan video. Thanks
I think you would use the point cloud that the tracker generates and line it up with the geometry on the lidar scan
Once you do your camera tracker you use your points (iuser tracked, I believe you can use the auto tracked points but idk) and link them to a vertex (right click (i think) -> user tracks -> and snap to vertex selection. you do this a couple times in different areas and it should be aligned fairly well if your lidar is accurate, you may need to adjust the x and y on your user track to shift it if its slightly off, sorry if this is slightly incorrect i dont have nuke infront of me atm. I prefer to do this in 3dequalizer tho, I think nukes 3d system is a little odd for me. I really like VFX tutors tutorial on matchmoving it pretty much achieves the exact same result the video is called "3DEqualizer Free PLE version Tutorial - Create a Matchmove Reel For FREE Pt.4"
Pretty much what the other commenters said! I just lined it up by eye to the camera's point cloud. It's not completely perfect doing it this way, but it works.
There is another way by using User tracks imported into the camera tracker, and you can pin features to geometry vertices, this article explains it:
learn.foundry.com/nuke/content/comp_environment/cameratracker/3d_survey_points.html
I haven't personally had to do this process in a very long time, usually with super detailed & tight tracks a Matchmove artist will do this process in Syntheyes or 3D Equalizer as those tools have really detailed ways of achieving super tight tracks.
Working on films if a lidar scan was taken, before it comes to you usually a matchmove artist will line up the lidar for the compositors for the whole sequence, so the compositors will just load it in for whatever shot they're working on. Film lidar scanners are much more detailed than the iphone one, sometimes down to millimeter accuracy.
In smaller studios, you might have to do this process yourself, but if it's a commercial studio having lidar in the first place might be rare unless the visual effects supervisor took the time to capture one. If it's a more complex shaped set they might take it, but it depends on the budget and time they had, etc.
Even just lining it up manually though is a great thing to have for your own projects though. When I do my own projects I usually go around and capture whatever scene measurements with a measuring tape / lidar / HDR spheres, lens grid, etc - all the stuff a visual effects supervisor would capture on a film shoot. The more data you have later, it makes it easier to put CG stuff in and make sure it's all the right size / lighting / lens distortion.
Thanks for the helpful tutorial, would you please explain more about how to import the lindar scanner data into nuke?
Hey there, this is just a geometry that the app creates. Polycam will create a .fbx or .obj file, and you can load this file into nuke using a Readgeo node.
It was then manually lined up using a TransformGeo against the Cameratrack point cloud to make it match the scene.
Hey i wanted to know how to do clean plate object removal on nodal pan shots and to add depth to the scene.
Thank you for the tips but i want to constructively criticize something that probably you know and left out intentionally. The area of grass you replaced is darker then the rest of the patch because the object there is creating soft area contact shadows from the cloudy day and diffused light around it. If you remove the object you should correct the exposure of the patch to be similar to the grass around where is exposed to the sun/sky. Right now the attention is drawn to it by then small different in exposures and always take in to account the light and shadows contribution when removing stuff. Nice tutorial anyway. Thank you.
Hm yeah you might be right. I was reading at it as more just dead grass or darker patches of grass mixed in, but probably could use a slight brighten anyway since it’s supposed to be flatter as well
Can u make a tutorial about making this Lidar effect?
Yep , will have that coming soon, already recorded! Aiming to post one full tutorial a week.
I guess what you are looking for is the wireframe shader. If you mean the dots, then try to generate particles with the object as source + spread and velocity set to 0
Alex' video can be watched nevertheless when its out :D
by dissolved do you mean fades?
Yep exactly, you can just use the mix control on a merge node to fade it on or off, or you can use a dissolve node if you want to blend between two different images on the same layer
Are you Lars Ulrich?
@@tavelaine2914 no
@CompositingAcademy hi sir fractal blur note free use note