Recently in Tip of the Week Category
Nuke has been gaining some headway in the compositing circles, and I'm seeing more and more questions on VFXTalk about some of the tools that are available to us. In this Tip, I'll be going over the use of the Shuffle, ShuffleCopy, and Copy nodes. These are a couple of the very basic channel controls that you have within Nuke.
Follow along in the extended entry below.
It's been a while since I wrote a Tip of the Week. This week's one covers how to make a gizmo in Nuke. A Nuke Gizmo is a collection of nodes that accomplishes something in one grouping. It's similar to a Shake Macro. The advantage of Nuke's gizmo is that it is not server side based, so you can create any number of custom gizmos, and launch them on a farm, and it'll run them, unlike Shake macros, which prefers a centralized location. Another advantage is that Nuke's automatic gizmo creation is far superior to Shake's automatic macro creation wizard. How so? Hit the link below and follow along.
It's become a staple of compositing life. RGBA channels used as masks. Using simple reorderers, switchmattes, and copies, you can easily move any color channel and use it as a mask or matte. Why would you want to do this? Well, a couple of different reasons. It can clean up the appearance of your script, it can make rendering out sequences easier on the 3D artist, and you can have more information in less places to look. Shake has a limit of five available channels, rgbaz. Flame has a limit of four at last count, rgba. Nuke has a limit of 64, rgba, and another 60 of your choice. Read on to see how using a number of different channels can make your life easier.
This week I'll be going in depth with Shake macro creation. If you're not familiar with Shake's macros, variables, or expressions, don't be dissuaded! It took me a little while to learn what I know now. Keep experimenting! Read on to see how I create macros, and how you can start to create your own as well! I originally posted a quick howto over on VFXTalk in this thread over two years ago, but everything listed should still be relevant.
Layer organization. Channel management. These two (or four) words represent quite a bit to compositors these days, as comps get bigger and bigger, and supervisors and directors want more and more. There must be a way to organize your scripts and trees into organized bits of information that can be readily adjusted days, weeks, or months down the line. Today I'll explain my methodology of organization, which you may have seen on sites like VFXTalk. If you've delved a bit into my gallery, you'll notice that most of the scripts I present are organized, or at least start off that way, and then they blossom into some kind of freak, mangled tree. Once in a while the tree gets trimmed, and it gets back into some semblance of order. Follow the link below to read how I organize my mind, and how I can get through some of the more difficult comps I've been tasked with.
