In this series of NUKE tutorials, we'll learn how to key green or bluescreen footage in NUKE. Using greenscreens is a common practice in today's VFX workflow, so understanding how to get a good alpha from greenscreen footage is very important. We'll begin the tutorials by learning what a chroma key is and what we need to look out for while we shoot the greenscreen footage. From there, we begin keying a sample shot using the Keylight keyer included in NUKE 6. We'll then learn how to refine our matte and edge using the various built-in modifiers. Then we'll combine multiple Keyers to get the best possible result. Finally, we will composite our keyed footage over a background and learn about spill suppression and some compositing tricks to integrate our pieces of footage. We'll end the tutorials by learning a method of treating compressed or chroma sub-sampled footage to pull better keys. Software required: NUKE 6.1 and up.
Chris is a VFX author at Pluralsight. Along with creating and recording training, he also manages the support team and works closely with the production development team. He began his career working freelance and quickly realized that he wanted to find a company where he could use his talents to help people succeed in the CG industry.
Introduction and Project Overview [Autogenerated] Hello, I'm Chris. With digital tutors, this'll series of lessons will learn how to keep green or blue screen footage in new. During this course, I'm gonna be saying green screen, but everything applies to blue streets as well. Using green screens is a common practice in today's vfx workflow, so understanding how to get a good Alfa from green screen footage is very important. We'll begin this project by learning what a chroma key is and what we need to look out for while we shoot the green screen. Footage from there will begin King a sample shot using the key light Kier included in Nuke Six and up Well, then learn how to refine our Matt and edge. Using the various built in modifiers prevent combined multiple Keir is to get the best possible result. Finally, we will composite are keyed footage over a background and learn about spill suppression and some compositing tricks to integrate. Our pieces of footage will end by learning a method of treating compressed or chroma sub sampled footage to pull better keys. The series of lessons will take a step by step. Look at the king process inside nuke, creating alphas or Mattes. Using green screens will allow us to composite two pieces of footage together much faster and with a much higher degree of accuracy. So with that, let's go ahead and get started.