Nuke; Production Workflows; Pan and Tile Backgrounds Video Lecture | Create Visual Effects with Nuke - Professional Skills

in this tutorial we'll have a look at
some basic pen and tile techniques and
nuke which means we'll grab a bunch of
steel frames like this we'd note here
has a whole bunch of tiles and we'll
stitch them together into one big
spherical environment using the 3d card
node the resulting scene we can use to
create a spherical texture map or cubic
maps or we can simply use it as a 3d
background for our shot to create our
animated background with if you have to
assemble tile sets like that I strongly
recommend trying to find out about the
camera that was used to shoot those
tiles with in particular you want to
know its aperture or sensor size as well
as the focal length that was used to
shoot those things and if you have those
two parameters you'll save yourself a
lot of hassle and guesswork in putting
that together I'll attach the view
metadata node hoping that it'll spit out
some useful information and in fact it
does and tells me that those JPEGs were
shot with a canon eos 450d
so let's go ahead and find out the
sensor size of that camera because I
have to do this quite often I actually
have a menu item here linking to DP
review which is a pretty good camera
database on the web so I'll go to Canon
find 450d there it is and in here we'll
find the sensor size because it's a
digital camera and here it is it's
twenty two point two times fourteen
point eight so beckon you I kind of like
creating a an equivalent camera to what
was being used so I'll just create a
camera node and punch in the value is
twenty two point two times fourteen
point eight like so and back to the
metadata for a second let's find the
focal length I'll just type in focal try
to at least
and that would be a key there it is 28
mil so we'll punch that in 28 millimeter
and I'll just decrease the far clipping
plane to have a bit more of a compact
view of this we won't actually need the
camera for our stitching but it helps to
verify that you're doing the right thing
so now let's go ahead and extract the
first two tiles from the sequence here
so I'll just append a frame hold node
and switch this one to hold frame 1 and
then copy that and create a frame hold
at frame 2 when I do this I like
toggling on the postage using old P
Excel and toggling that off but that's
just me so now we're ready to create our
first card and you may have noticed
before that the card node itself has a
focal length and a horizontal aperture
it has those properties to facilitate
exactly our panel tiles setup so let's
actually go ahead and copy those values
from the camera I'll just shift drag the
focal length from the camera into the
camp into the card to copy it and then
do the same for the horizontal aperture
shift drag over into the horizontal
aperture and that takes care of that we
don't need the vertical aperture because
the card node figures that out based on
the incoming images aspect once we have
a focal length and a horizontal aperture
assigned we can now use the Z slider to
push the card out in space through the
virtual camera that is defined through
those parameters so you can see that as
I modify the Z in the card it moves
exactly along the cameras frustum even
though we don't need this camera really
but it visualizes exactly what the car
is doing under the hood and we're also
not transforming the cards pivot by
using the Z knob so once we've done that
we can still rotate around the point of
origin like so which is very helpful
for pennant I'll set ups so it's
basically almost like the card has its
own projection camera built-in so
obviously we shot the image in portrait
format so let's go ahead and accommodate
for that by rotating around minus 90 in
Zed to put that up right so that's like
like rotating the camera in minus 90
degrees like so and if I move it back to
one you'll see it fits perfectly again
okay so now let's actually get rid of
that camera we don't need it any longer
and um copy that card note that we've
got onto the second texture combine the
two things with a scene note and attach
the viewer to that and now the fun
starts which is you have to find the
rotational values to match those two
things so you go into the Y rotation and
rotate your card until it joins up with
the previous one so let's zoom in a
little bit here and I'm looking at the
chimney here in the background just
fine-tune that a little bit maybe rotate
up an X a little bit you should really
only try to use rotation with a setup
like this because there is no parallax
and rotation should get you all the way
there unless there is a lens distortion
which is an entirely different issue
okay that looks pretty good so let's go
ahead and copy that over and create a
third tile all right frame three has a
frame hold this time and once again I'll
copy that over and join it up into the
scene mode and since that was minus 25
I'm just hoping I'll be lucky with minus
50 now let's have a look how father got
us well actually not really close so
let's find you in that by hand a little
bit by tweaking the Y rotation again
so that's probably the majority of the
time that you'll be spending doing this
ok let's let's say we kind of like what
we've got at this stage and um we want
to go ahead and render this and we just
attach a scanline renin node and create
a camera this would be your your shot
camera that you would render your new 3d
background through so I'm just going to
attach that and adjust it in a rather
arbitrary way to just look at our tile
set so that gives us this view it's
actually widen the view a little and
rotate a bit over why Excel and now hit
tab to go into scanline renderer mode
and that gives us our tile set so let's
zoom into the seams and just deactivate
the note that's where the seam is that's
actually pretty good
so you can you can still see especially
if you gamma down that there is still a
few seams here and here a quick fix for
that without major pain would be to use
the Z blend mode in the scanline
rendered so if you set that to let's say
linear that's way too much I have to
decrease the Zetland range the zet blend
range is in actual world units and keep
in mind that we've only created this
setup at one unit away from the origin
so we need to make this pretty small the
Zetland range essentially creates a
little volumetric cube around each pixel
and allows cards to be pulled through
into a blending that are actually
occluded by the foreground so that
blends foreground and background cards
together and you can see the difference
between no blend and linear blend it
nicely gets rid of some of the problem
areas for us without much of a hassle
really
so that's your basic tenant I'll set up