fxphd – NUK226 – Painting & Reconstruction Techniques with NUKE X

去除和数字哑光绘画基础是合成师的基本技能，但掌握这些技术需要高水平的技术理解才能促进工作、提高速度和改善结果。Victor Perez 教授设计了这门课程，以向您展示以简单但技术先进的方式从镜头中绘画和去除元素的艰巨工艺。

所有跟踪和几何生成仅使用 NUKE 工具完成，不涉及第三方软件。探索 NUKEX 8 和 MARI 中可用的新功能，该课程提供了一个真实的案例场景，学生将有机会应用每节课的内容进行专业的大规模删除。因为，当然，每个人都可以移除屏幕上的麦克风尖端或装备，但是，你能把所有人从墨西哥拥挤的街道上移除吗？我们现在正在谈论。

课程涵盖的主题：

NUKEX 8 相机跟踪器：相机跟踪与对象跟踪
镜头失真、晕影和颗粒工作流程
3D 投影设置的 Python 优化
装备移除：3D 投影与 2D 补丁
透视平面正交视图的 UV 绘画工作流程
实时绘画与冻结补丁
脚本优化
构建3D 投影的基本几何：
深入了解 ModelBuilder 和 PointCloudGenerator 节点
NUKE <>MARI Bridge
MARI 和投影绘画工作流程
案例研究：“清空墨西哥的街道”

课程大纲

第 1 课：跟踪和镜头失真方法概述 – 在我们的第一节课中，我们回顾了 Nuke X 8 中的所有跟踪选项：2D、2.5D 和 3D。何时使用它们中的每一个，优点和缺点。我们解释了 Camera Tracker 技术，以了解它可以在哪里使用以获得更好的结果。我们还揭开了视差原理的神秘面纱，并探索了所有可用于使用镜头畸变节点进行非畸变和重新畸变的方法，以及如何导出镜头畸变位移图。

第 2 课：用锥体测试场景。摄像机跟踪（II）：来自静止图像。3D方式。几何生成：放置卡片，生成密集点云，泊松网格。

第 3 课：应用绘画并使用时间偏移显示重建图像。我们继续处理 The Last Chick 的镜头，以完成墨西哥城一条大大街上的人群疏散工作。我们讨论了干净的框架、覆盖画布、边界框、覆盖图、显示与克隆绘画、使用描边融合模式进行涂抹、对齐工具、线性变换的连接、bbox 一致性、干净的补丁、匹配移动、f_regrain 和 bbox 优化。

第 4 课：相机投影基础 I：在第四节课中，我们准备使用 Nuke 3D 空间进行相机投影的场景。我们讨论了相机投影设置的组件，如何使用点云和基本几何体（圆锥体）测试相机，从 CameraTracker 节点（轴）中的特征点生成资产，Python 脚本在旋钮中执行几个值更改具有两条快速而简单的命令、脚本优化、过扫描、ScanlineRender 设置、镜头失真和 3d 工作流程。

第 5 课：相机投影基础 II：在第 5 课中，我们开始生成和投影补丁以清洁原版平面上的特征。我们讨论使用来自 CameraTracker 节点的数据生成投影，我们探索 Project3D 节点和与 UVProject 节点的区别，如何创建 3D 投影设置所需的所有资产：投影仪，讨论 3 种不同的方法来创建相机投影仪，包括管理自定义用户旋钮和脚本标准以轻松识别投影仪；补丁投影包括克隆绘制步骤；以及可投影几何的生成和对齐。

第 6 课：相机投影基础 III – 在第 6 课中，我们继续并完成生成和投影补丁，以使用邮箱案例研究清洁原版平面上的特征。我们讨论了使用来自 3rd 方软件的独立相机生成投影，对 2D 坐标中的单个点进行三角测量以定位其 3D 位置，使用锥体手动对齐基元作为投影表面，如何生成点云以参考空间和体积或将可投影几何烘焙点生成网格并使用泊松网格，几何的自动对齐（捕捉），如何使用模型构建器节点生成体积和对齐表面，以及正交绘画方法以消除绘画工作流程中的透视问题。

第 7 课：对象跟踪 – 面部标记去除 – 在第七课中，我们捕捉男人头部的运动和体积，以便执行标记去除和数字化妆。我们讨论了相机跟踪和对象跟踪之间的区别，跟踪特定帧范围内被遮挡的特征，仅使用用户跟踪的 3D 跟踪，将 Tracker 节点跟踪点作为用户特征导入 CameraTracker 节点，绝对与相对关键帧粘贴，实时与烘焙投影, 实时绘画, 程序遮罩, 可投影几何体的程序生成和 UV 问题, 使用卡片重建可投影体积, 用于从卡片中移除标记的 UV 展开, 使用 RotoPaint 和 Roto 节点克隆实用程序移除标记的实时投影, 数字化妆, 遮罩通道，笔触磨砂，自定义差异磨砂。

第 8 类：用于自动生成投影设置的 Python 自定义；渐晕问题——在第八节课中，我们准备了一个基本的 Python 脚本来生成相机投影设置，包括节点的生成、它们的自定义和输入的连接，我们学习了应用于 Nuke 作为获取值的基本 Python从旋钮或设置它们，打印值，将当前帧放入 FrameHold 节点等功能，以提高投影和修补任务的速度和效率。在课程的最后一部分，我们学习如何将晕影效果添加到补丁中，以重现印版的实际晕影指数。

第 9 课：覆盖和环境地图 – 在第 9 课中，我们将相机的可见区域转换为 2D 经纬度地图以投影定制的天空替换，因此我们将球面变换的相对 X 和 Y 坐标讨论为纬度和经度坐标系相对于相机的截头体、SphericalTransform 节点、用于将 3D 单词捕获为 2D 图像的立方体相机设置、如何合并一系列帧以获得最大覆盖区域、最小分辨率估计一种数字哑光绘画，用作环境贴图、贴图出血和重新包装。

第 10 课：Mari<>Nuke 桥 – 投影绘画 – 在第十课中，将 Mari 融入到 Nuke 的绘画工作流程中。我们学习如何安装 Bridge 以将信息从 Nuke 发送到 Mari，反之亦然，使用 Python 脚本对其进行自定义，具体取决于软件的版本和我们使用的操作系统；我们使用 Mari 中 Nuke 的 LUT 讨论投影组件以及发送和导出、单投影和序列投影之间的区别；快速入门有关在 Mari 中绘画的最低基础知识，使用图层和通道、图像导航、画笔和常用工具（例如克隆和基本画笔、蒙版堆栈以将“alpha”蒙版应用于图层）。我们定义了 Paint Buffer 和投影绘画（和烘焙）的逻辑；一旦我们绘制了纹理，我们就会以不同的方式将其发送回 Nuke：投影和 UV。我们还快速浏览了 3D rotoscoping。

fxphd – NUK226 – Painting & Reconstruction Techniques with NUKE X
WEB-Rip | MP4 | AVC1 @ 500 Kbit/s | 1440×900 | AAC Stereo @ 128 Kbit/s 48 KHz | 8 Hours | 9.13 GB
Genre: NUKE X | Language: English | Project Files Included

Removals and digital matte painting fundamentals are essential skills for a compositor, but mastering these techniques requires a high level of technical understanding in order to facilitate the work, increase the speed and improve the results. Professor Victor Perez has designed this course to show you the hard craft of painting and removing elements from a shot in a simple still technically advanced way.

All tracking and geometry generation are done using just NUKE tools, no 3rd party software involved. Exploring the new features available in NUKEX 8 and MARI the course provides a real case scenario where the students will have the opportunity to perform professional massive removals applying the contents of every class. Because, of course, everybody can remove a microphone tip or a rig on-screen but, Can you remove all the people from the overcrowded streets of Mexico? We are talking now.

Subjects to cover in the course:

NUKEX 8 Camera Tracker: Camera Tracking vs Object Tracking
Lens Distortion, Vignette and Grain Workflows
Python optimisations for 3D Projections setups
Rig Removal: 3D Projection vs 2D Patch
The UV Painting Workflow for Orthogonal View of a Perspective Plane
Live Painting vs Frozen Patch
Script Optimisation
Building Basic Geometry for 3D Projections: ModelBuilder and PointCloudGenerator nodes
in-depth
The NUKE <>MARI Bridge
MARI and The Projection Painting Workflow
Case Study: “Emptying the Streets of Mexico”

class syllabus

Class 1: Tracking and Lens Distortion methods overview – In our first class we review all tracking options inside Nuke X 8: 2D, 2.5D and 3D. When to use each of them, pros and cons. We explain the Camera Tracker technology to understand where it can be used for better results. We also demystify the principle of Parallax and explore all methodologies available to un-distort and re-distort using the Lens Distortion node and how to export a Lens Distortion Displacement Map.

Class 2: Testing the scene with cones. Camera tracking (II): from from still images. The 3D way. Geometry generation: placing cards, generating a dense point cloud, poisson mesh.

Class 3: Applying painting and reconstructing the image using the temporal offset reveal. We continue working with the footage from The Last Chick in order to finish the removal of the crowds in a big avenue in Mexico city. We talk about the clean frame, coverage canvas, boundary box, coverage map, reveal vs clone painting, smudge using stroke fusion modes, alignment tools, concatenation on linear transformations, bbox consistency, clean patch, match move, f_regrain and bbox optimization.

Class 4: Camera Projection Fundamentals I: In the forth class we prepare our scene for camera projections using Nuke 3D space. We talk about the components of the camera projection setup, how to test the camera using the point cloud and basic geometry (cones), generate assets from the feature points in the CameraTracker node (axis), Python scripting to perform several value changes in knobs with two fast and simple lines of command, script optimizations, overscan, ScanlineRender setup, lens distortion and the 3d workflow.

Class 5: Camera Projection Fundamentals II: In the fifth class we start generating and projecting patches to clean features on flat surfaces of the original plate. We talk about generating projections using the data from the CameraTracker node, we explore the Project3D node and the differences with the UVProject node, how to create all assets necessary for the 3D projection setup: the projector, discussing 3 different methodologies to create a camera projector, including managing customised user knobs and scripting standards to easily recognise a projector; the patch projection including a step of clone-painting; and the generation and alignment of projectable geometry.

Class 6: Camera Projection Fundamentals III – In the sixth class we continue and finish generating and projecting patches to clean features on flat surfaces of the original plate using the mail box case study. We talk about generating projections using a standalone camera from a 3rd party software, triangulating single points in the 2D coordinates to locate its 3D position, using cones to manually align primitives as projection surfaces, how to generate a point cloud to either referencing the space and volumes or generate projectable geometry baking points into meshes and using the poisson mesh, automatic alignment (snapping) of geometries, how to use the ModelBuilder node to generate volumes and align surfaces, and the orthogonal painting method to remove perspective issues from the painting workflow.

Class 7: Object Tracking – Facial Marker Removal – In the seventh class we capture the movement and the volume of a man’s head in order to perform a marker removal and digital makeup. We talk about the differences between camera tracking and object tracking, tracking features occluded in certain frame ranges, 3D tracking using just User Tracks, import Tracker node tracking points into the CameraTracker node as User Features, absolute vs relative keyframes paste, live vs baked projections, live painting, procedural masking, procedural generation of projectable geometry and the UV problem, rebuilding projectable volumes with cards, UV unwrap for marker removal from cards, live projection for marker removal using RotoPaint and Roto nodes clone utility, digital makeup, the mask channel, strokes matte, custom difference matte.

Class 8: Python customizations to auto-generate projection setups; the issue of Vignetting – In the eighth class we prepare a basic Python script to generate a camera projection setup, including the generation of the nodes, the customization of them and the connection of the inputs, we learn basic Python applied to Nuke as get values from knobs or set them, print values, get the current frame into a FrameHold node and other functions to increase the speed and efficiency of projection and patching task. In the last part of the class we study how to add the vignette effect to a patch in order to reproduce the actual vignette index of the plate.

Class 9: Coverage and Environmental Maps – In the ninth class we convert the area of visibility of the camera into a 2D Lat Long Map to project a custom made sky replacement, so we discuss the relative X and Y coordinates of a spherical transformation as latitude and longitude coordinate system in relation to the frustum of the camera, the SphericalTransform node, the cubical camera setup to capture the 3D word into a 2D image, how to merge a sequence of frames to get the maximum coverage area, the minimum resolution estimation for a digital matte painting applied as an environmental map, map bleeding and re-wrap.

Class 10: The Mari<>Nuke Bridge – Projection Painting – In the tenth class incorporate Mari to our painting workflow from Nuke. We learn how to install the Bridge to send information from Nuke to Mari and viceversa, to customise it using Python scripts, depending on the version of the software and the OS we are using; we talk about projection components and the difference between sending and exporting, single and sequenced projections, using LUTs from Nuke in Mari; a quick start minimum fundamentals about painting in Mari, using layers and channels, image navigation, brushes and common tools such as the cloning and the basic brush, the mask stack to apply “alpha” masking to layers. We define the Paint Buffer and the logic of projection painting (and baking); and once we have our texture painted we send it back to Nuke in different ways: projections and UVs. We also have a quick look at the 3D rotoscoping.