 Okay, so this is going to be a quick tip about regraining when you want to use the the original grain, so I call it I don't know adaptive regraining. And let's say, let's say that we want to remove this light right there. So since the grain is quite different in the dark areas to the bright areas, so using the traditional regraining method which is subtract and add back will not work. So what I mean by that is that since, okay, so here we have the plate, there is a denoise, we gotta subtract it in order to get the denoise, yeah. And we are going to add the noise back again, add, but as you can see we have, we got this pattern right there. Okay, so let's, let's take, I don't know, imagine the scenario where you have many, many of these these, I don't know, unwanted patterns. So yeah, so I got the plate, the denoise, the, the clean frame, a freeze frame with the mocks. And I did, I did the track. And yeah, this is, this is the human body structure matchbox shader. And I use it for recording that. Just an example, you know. Okay, so in order to get the adaptive regrain, what we will do is that we are going to use the median filter, okay. And we are going to use a 2D transform and a color correct. You will see why in a second. So we are going to add it right now, back, add it back right now. Okay, it's quite hard. So what we're going to do with this, this 2D transform is, if we would take a look at the, the noise pattern. This is the before, this is the after. This is how, how it comes with the median filter. Okay, so it's kind of distorted in yx, in y axis, sorry. It's kind of stretched. Okay, so what we're going to do with this transform is we are going to try to really, really let back to the original shape. I guess I don't know what's the, how to call it. So what we're going to do is, first of, first of all, I'm going to use a middle repeat. And I'm going to scale, scale down this x axis, something like, something like that. And we are going to bring down the y axis, something like that. Okay, yeah. So since this is not that, that strong, we are going to bring the gain up just like that. And we're going to bring this to 40, seems to be better there. Okay, so now, now let's compare what we have here and what we have with traditional method. So we still have this area and we still have, we don't have, sorry, this. Okay, so in this shot, so let me take to the transform and let's take the mask chaser. In this shot, since this is the only problematic area, we make, sorry, we can, we can say, yeah, it's just that, that right there, that. So we could do this. And yeah, there you have it. But I don't know, let's think about a scenario where you have many, many of these lights. I don't know, bright and dark areas. So you got a flat, what you want to get is a flat noise pattern, just that. But with the same size, with the same, the same size, the same color, the same speed. So yeah, that's why I'm doing this. That's why I'm doing it. So of course, you can even create the saturation a bit. And yeah, that was the quick tip. I know, I know this is going to be useful because this is something that we face day to day. And we got to realize how to, I know that many people use the regrain and re-noise matchbox. But there are some cases, there are some cases where you don't have the same noise pattern when you don't have, I don't know, let's say we want to get the noise profile from, I don't know, the latest red camera or the latest black magic camera. And you are still trying, trying and trying, doing it and you couldn't get the noise profile. So that's why I use this, this way. And that's the reason why many people do the traditional, the traditional re-noise technique. Okay, so hopefully it works for you. Thank you. Bye.