 All right everybody welcome again to another exciting edition here of logic live. This is session number four for us We're gonna do nuke for flame artists with Christophe Zapletal from Hamburg. I want to thank Christophe for for joining us today Christophe is a freelancer working like I said in Hamburg, Germany, and I'm sure many of you Recognize his name. He's been a great contributor to the logic community and he also has done quite a few Fxphd sessions But before we get started, I just wanted to remind everybody about logic TV our new website Where you can find all the recordings of logic TV episodes or logic live episodes as well as a bunch of tips and tricks and Just a great place to define anything and everything flame related. Also another reminder about logic fest I've gotten a bunch of submissions for logic fest, which is our little tips and tricks contest So I want to thank everybody who's contributed and let you know it's not too late To to contribute as well if you've got something that you want to submit It's really easy you go to one frame of white comm or logic TV to sign up You then email me your tip or trick to or technique to NY flame user group at gmail.com by Midnight on Sunday April 19th, which is next Sunday And then we're gonna give everybody on logic an opportunity to vote for their favorites and announce Some winners the five entries to get the most votes will each receive a one-year license of sapphire and mocha courtesy of our friends at Boris FX, we're gonna announce the winners during the Autodesk up close and personal with flame Event it's an online event on Tuesday April 28th from 1 to 3 p.m. There's a registration link here You can find it on the events page on logic TV and please definitely sign up for that It's gonna be great our friend will Harris who's the flame family product manager is going to show off a bunch of the things I think we're gonna show an NAB for the you know What's what's new and exciting and flame and then we'll follow that up with The logic fest winners like I said our friend Christophe He's very active on logic and you may have seen or signed up for one of his Excellent FX PhD courses the beauty ones are fantastic. I would highly recommend them Actually, I just do want to give a shout out also to our friends at FX PhD These guys I'm sure everyone knows them. If not, they're the best training available anywhere. There's like 250 courses covering everything in in production and post production and They're running a promotion right now 25% off on new memberships. So please go to FX PhD calm Check out what they have and and I want to thank them They've always been huge supporters of logic and the user group community. So thanks to the the folks are for FX PhD calm And so without any further delay, I'm gonna hand this off to Christophe who's gonna take us through and show us nuke for flame artists Hello Christophe Love that charts great Yeah, the idea of today's session is basically to bring all of those of you guys Who either never touched nuke or well touched it once and burnt the fingers a little bit or never really got around to it into it because with the introduction of of pattern browsing and and the Shot publish Nuke is really in my opinion a great side car for flame if you do bunch of stuff in flame You can really get one or two things really neatly done in flame in you guys well and So I structure this in in three parts. So the first part will be just Basic introduction into the interface Really, just get everybody up to speed where everything is so that they can follow along And then I'll quickly take you back into flame and show you a shot that we all basically have done time and again It's really day-to-day work nothing too fancy, but I Will step you through that very quickly and then we'll real rebuild that shot in nuke Just to give you an idea how easy that can be to get you started in nuke and after that I would like to hand you into a quick guide into how to read the Artist script the idea being that You're in at your facility at 10 p.m. In the evening and all the new guys have left building and the clients this one more Change and yeah, you can do it in flame in two to three hours fixing up that or you could open up that nuke script and Really quickly check where where to find this Certain met or something so I won't present you with a huge script, but rather I'll just give you little hints what to watch out for to help your way around and the last part will be my Let's say my favorite features in nuke why I think it's such a great companion piece to flame and why I Pretty the tools that are pretty irregularly used So let's start off with the interface this what you're seeing is the latest release nuke 12.1 and this is the vanilla Layout nothing is modified here. This is really like out of the box What it looks like on a single-screen workstation. So the main part obviously being the viewer up here so you've got sliders here for your exposure and your gamma so you can basically fulfill the same function what you would do in flame with Control shift one two three and so forth to gamma up and down on your picture. You've got a Bunch of drop-down menus here on the side and this is where all your Notes are located and basically for newbies This is the perfect place to actually get a grasp of the the whole tool set of nuke because for example if you Open up the the transform menu here You get all the trends from notes from a simple 2d transform to up to a grid warp or Corner pinning and all these things Likewise for color correction. You'll find them here Everything from a simple card correction to ocaio or a match grade or you name it So this is the first way you can get notes into your note graph so you'll just select one and Boom it pops up up here The second way you can get notes into your note graph is by doing a right-click Sorry, that was a little bit too fast right-click and then you basically get the same menus as on the top left-hand side And you can navigate those and pick your notes Once you're a little bit more fluent in the new Klingo you might check out this if you tap And you know you're for example looking for a hue correct You just type in the first two three letters and then you can pick that from the drop-down menu Once you get used to that that's a pretty fast way of working and Last but not least like every So this one has got shortcuts So the most common notes you'll use like transform is mapped to a T or a great note is mapped to a G Merged to an M so that's how you can populate your note graph, which is the one we see down here If you want to put any of these views into full Screen view you just hit space. So there you go and Space to get back and that works for the note graph as well and On the right-hand side here, we've got our proper panel. So basically if I double-click on any note the properties will show up here big difference to flamest you can Pulate these with multiple notes So I can put up two or three notes or up to ten notes in that thing Copy values around it's something to get used to it can get a little bit crowded I usually keep mine to a maximum of two different notes up here if I don't need any more, but That's one of the differences you you might want to get used to one thing I should mention is also the viewer inputs Which is basically what you know from flame as context views So if you select any clip or note and you hit one you put that into the viewer if you select another one and Hit two on the keyboard put that in the viewer and then you can switch between those and this works with every numerical button up to the to zero And that's your context views and other than in flame you haven't got any more different views The only exception being tap to switch between 2d and 3d space in the viewer alright Of course this interface has got much more. So you've got a curve editor. You can put up scopes All that stuff, but that would totally Explode the contents of this evening. So I think this is enough to get everybody even the ones who never Had had a look at you started to follow along So let's switch to flame real quickly and I'll take you through this little shot. This is from a tutorial from a couple of years back and It's it's like the the normal thing you do your online and after the shoot the client decides Yeah, we changed our packaging We want to add a logo on that side as I said in the intro nothing too fancy But something each and every one of us has to do on a regular basis So let's go into a batch and the way I tackled this is I did a pre-stabilize here using the perspective grid so like that This is in there quite snugly we take a look at the result view so I got rid of my perspective and Then I load it in the logo resized it Reposition it to taste it a little bit of color correction on it to Put it in with the original print a little blur on it to kiss it in and Then I did a pre-comp here just for myself to see if it fits and then actually here I did an invert on that perspective grid put out a mat and Comp that back on top of the original and that's it So really nothing too fancy as I said, but I think for somebody who hasn't yet build a comp from scratch and you Maybe the easiest way and also something that fits our time format So how do we go about this than you well? Let's switch back and the first thing we need is a fresh script. So we'll select new comp and There we go. So that's a clean clean slate for us And the first thing we need to get in is our material So for that we need a read note which will access our file system get the files in there and I'll use the shortcut R to read that in and Navigate to that folder logic life rushes shot 110 and There we go So you've got your little preview viewer down here if you want to and you can open that and now on the right hand side here our Read note populates the properties bin and we can see okay. This is a different format then Actually the empty viewer we see up here and this is something we have to set up if we are not hooked into a big pipeline We're a tool like shotgun or something takes care of this for us. We have to do this ourselves We have to adjust our settings. So in the in the note Graph we hit s for the project settings and there we can adjust things like for example this resolution so now we make sure that like in flame everything we create from scratch like a color source or a checkerboard or a resize is Is created in in the appropriate resolution? Okay, so we've got done Quick question for you when you can can you only keep one script? Open at a time or can you have like two different shots open in two different windows or something like that? actually, I still got my my little intro set up open here and Also the one I'm still coming to and that's actually quite neat because One thing that allows that to do pretty much like you can do with batch groups in flame is that you can grab a single note or Even an entire backdrop like this one. So backdrop is new blingo for for Compass compass. Thank you, Andy. Yes, sir. And So you can you can use your normal? apple command C and Command V to paste that in here. So that works quite nicely and I had sessions running where I copied between Six seven different open scripts. What you don't want to do is Put multiple shots into the same script. I've seen some people do that at the beginning But you is really made for one Shot in a in one script. So you want to do multiple scripts Alright moving on and safety first I would like to save this script away and This is where where we see a difference to to to like flame or flare Where all this management gets taken care for us here? We have to take a little bit more care ourselves So we have to define a place to save this so save comp as And I'll navigate that to the appropriate folder again nuke and I'll save this as max SR H 110 and then I'll add a version number And my initials Dot and K. That's the the nuke file format and save that away The neat thing is like with iterations if I for example do a nuke comp version nuke will Recognize that version number I did v zero zero one and automatically increment that and increment that so No, I've got version two already, but yeah, so our script is saved away And now we can finally get to the fun stuff and we'll start that by doing a planar track So I'm using this tap thing here because it's much faster for me than looking those up here And I'll pick the planar tracker which actually is a roto shape. So like in flame the the planar tracker is tucked away in the in the roto tools and Putting that into an input viewer I'll draw a quick shape Like we do a little bit larger than the actual area to give all the nice detail on the edges like that like that and Now if you want to track it You don't use the player controls down here. You use those ones up here, then you'll actually perform a track Oops. Sorry. I forgot something Have to switch this to input Because otherwise he would have Try to track all the stuff before frame of thousand and one so that was my mistake Sorry for that. We've all done it. Don't worry So now a progress bar appears and he does a pretty fast planar track on that and so now So now You can see here, we've got a bunch of tabs up here and we're interested in the trap tracking tab and there we can do a little correction and I'll do that on the first frame and Some of you guys might know the trans keys function and the old gmask or in some parts of action Something I'd really like where you can offset entire animations Well, and you cast the same thing the ripple up here. So now you see if I move this point Offset the entire animation will offset Oops There we go So now should be in place. Let me check Looks pretty good Okay, so now right out of the planar tracker we can create ourselves a corner pin as we don't have such an uber node like like action where where we can correlate so much stuff Each and every function in you is its own node. So We'll create that And you see those linked with a green arrow and like in batch the green arrow indicates a connection in this case an expression. So we know that if we do any changes to the planar track up here that will propagate down to my corner. So there we go. And there. I want to set this up like a pre stabilize. So the first thing we do is You set this to the input format and now it looks like any four point track we would do with a bilinear in action. But we want the exact opposite. We want the the corners of that box exploded out to the edge of the screen. So for that, we'll just the invert and now We've got our perspective gone. Hopefully the track is pretty neat. I think for our purposes. This is good. Yeah, a little bit wobbly, but I think it will manage for now. And now it's time to bring in our logo. So once again, I'll hit the read And bring in that other image as a read node. It's up here. And in flame, we would use a comp node and then nuke we use a merge node and there are two important differences to the comp node and flame. And the first one is This one has two inputs as well. We've got the front and the back and flame and you we've got a and B well what the merge node can do but what can also be quite confusing and can accept Different resolutions as compared to comp. So which one Defines the the output resolution. Well, that's always the be input. So that's where we connect that first and also In the tidy script, you will always see the be input coming in from above. So in flame, you would always build your flow graph from the left to the right and you you always build it from the top to the bottom down. So that way we know, okay, this is the resolution trickling down here. So we connect this in from the side. The second big distinction is This merge node supports multiple channels. So we don't need a different meta input. We've got one, but we don't really need one as our logo comes equipped with an alpha. This gets pulled right in here and applied here as well. So now you see my pre stabilize is the master resolution to KTCP and my logo gets added on top and now hitting T I get myself a transform node and I can move that handle by hitting command, bring it down to the very bottom and bring this over here. And I'm using the error keys now to scale this down. And what's really neat about this is if you use left and right to move your cursor, you can Move the move the decimal and by that you can really finely tune this without having to resort to the slider, which you can use as well. But if you want to really finely Massage in a value. This this can be really, really helpful. Allowing you to take a look at the picture instead of the numbers. Of course, I'm keeping my mic muted because I've already went. Oh man, like 15 times just like the the be input resolution was just like something that I have been looking for. I felt like it would be easier to find the the meaning of life. I know this is not the the most exciting of comps, but I wanted to find an example where where it's more this daily life stuff that that we trip about because Oh, totally. We could have dove into 64 EXR channels and everybody would go. Everybody would go ahead. Why where how do I move us? So I thought and I hope this is not too boring for for anybody. But I thought, let's let's start it with day to day stuff. And once you got that managed, you can get into all the other exciting stuff. This is great. Thanks, man. Cool. Great. So we've got that now we need to color correct this a little bit. So I'll just tidy this up a little bit. And if you want to for inserting these little elbows. I'll just hit command again. I'm on the Mac. He has on a PC. It would be control or on Linux. So One thing I want to do is like I would inflame with a with a color correct match function. I want to match these black values. So I use a great note. Bring that in here and use that color picker and really just sample that area. So now this is the first the black point. And now I can pick that from the corner pin from the pre-stallize. And now these two should match. But now we see we've got a little bit of an of a pre-multiply issue. This this is not too bright. Well, this is where I show that basically every function in you has got its own note. So you can do a pre-mult as a separate note. So usually my my new coms tend to have three to four times more notes than my average flame com because flame notes tend to be a little bit more complex. So this. This is also hidden away in other nodes, but new. Well, Leads you to using a lot of notes. Let me just put it that way. So now we've got that pre-multiply issue fixed. Okay, now we can pull up a color correct hitting C on the keyboard. Okay, great. Let's bring down the situation a little bit. And going into the mid tones. I want to adjust the gamma that down, down, down, down, down, down. And if I want to to to to to have a little bit more control. There's this color wheel on the side. So for each of these values I can pop them open and then I get a much more defined interface on where to put my my colors. So now I can try to blend this in a little bit more. Probably something like that. So, but now I need to fix this This envelope a little bit more because this is a little bit darker down there and probably a little bit greener as well. So in flame, I would use the color warper and use the selective and be done with it. I can't do it that simply in you, at least not with the tools that I like. So the way I do it here is Taking a look at my channels. So in the viewer. If I hit our G and be it's the same as in flame with shift RGB. I can see the separate channels. So taking a look at the green channel. I can see that I can pretty easily use this to color correct the envelope itself. And if I wanted to do this in flame. I would get a separate note and just pull out the green channel and treat that separately. Well, for that and you I'll use the shuffle note this one. And I'll just Pull that green channel and put it into every output. So now in goes into red, green, blue and the alpha, which means now If I take a look at the alpha hitting a in the viewer. This is just the luminance values and I want to grade those so pull up another grade. This is something in flame. I would probably use a 2D histogram. So up here I can change which channels I actually want to grade. So I want to grade the alpha and I can just crunch it. Black value at black level. And bring down the whites just to be on the safe side. I'll add a clamp on that. So now I've got myself a nice mat for that envelope. So adding another color correction. I can put that in here and on the side. These guys have these little additional inputs and this is a mask and puts and now I can hook that up in here. And switching to my merge so that I see it in context. I can now start To maybe offset this a little bit until it roughly hits that color. So now let's say I'm happy with that. Now I want to add that back onto the original picture. Now I could go and just copy this this corner pin and And redo the inversion. I did on that. That would be perfectly fine. However, I want to make you quickly aware of one thing that can really make your new experience really, really slow and sticky. And this is this bounding box. And you literally knows no boundaries. So when I did that that corner pin that pre stabilize. It didn't just kill off all the pixels outside of the viewable area. It just put them into this eight K or seven K plate. And so if I would copy this note and just paste it here. Like that and invert that That pre stabilization Magically all my information is there. But if I if I try to play this back that gets really, really sticky. Well, the more elegant solution would be to instead Break this out here. Just grab the positioned and color corrected logo, get another merge node, combat on the background like that. And if I play that back now it's much faster. And also I'm avoiding all up sampling down sampling issue that I would have with the The other way. So I just wanted to illustrate that this bounding box is there and just one quick thing just to to make the point more obvious. If I use a crop node, I can get rid of that. So just insert that here. And now you see the bounding box is gone. However, if I now copy that node. And And reintroduce it here and do the same thing to invert the stabilization, then only that area will be there because all the rest has been killed off. So what's missing obviously a little bit of the focus. This is much too sharp. So just hitting B for blur. And don't get intimidated by me using all those shortcuts. This is just muscle memory you find so much more stuff. If you if you just browse through these notes and so I'll dial this up. Bring this to something more appropriate, maybe like that. So and and for arguments sake and in the sake of time. Let's let's say that this would be a good comp and Now we need to get the stuff out here and in in flame would just pull out a Render node and the stuff would land on my desktop and I wouldn't have to worry about it. Well, things are a little bit different here. We need to specify a file path and There are one or two caveats with the right note that you just need to be aware of for the first time and then you just know it and that is hitting W for the right note. Connecting it here where I want to render it out and like in flame I could place this anywhere in my script. Um, so by default, I'll just get rendered RG and be but I could if I for example want to use this in flame with a met I could and add also an alpha channel here. And there's no file type specified yet. We'll do that when we actually enter the path where this should land so I'm going to navigate to my renders folder nuke and I'll just create a new folder here because we want to keep this nice and tie max as age 110 Version 002 my initials. We'll just copy that along and create that folder and in that folder. I'll paste that in and now You need to define the suffix so that that we can keep that frame sequence because that's a mistake that when I was starting with you. I constantly make I just put my file name in there road dot tiff or dot ex R and I got the same file overwritten again and again and then error message. So you need to define with hashtags, how many digits your suffix should be so I'll usually go with six so I'll add six hashtags dot ex R. I want to render ex R's. And now, once I've done that, all the ex options are given to me here so I can modify this rendered full float if I like. And be happy with that. Just for I or for completion sake, if you're working in a big pipeline. This might be taken over by shotgun and or another tool and just be set up for you. Okay. So that be my simple mundane tracking shot rebuild and you. And now, if there are any questions, hit me up. Otherwise, I would continue to the, let's navigate and somebody else's script part. Hey Christoph, I have one question for you. Yeah, sure. When you were inserting nodes into, like in between two other nodes was there a hot key you had to hold down in order to make that connection. So for example, so let's just insert anything here I'll pick a grade with a G, and I'll just hover over this and then the line gets highlighted, and I drop it and then it's in there. Also, if a node is selected. And I hit G, it gets inserted downstream. So that's something that can be quite handy. So if you've for nodes that for that, that type of thing where a node gets inputted or inserted and connected automatically. In the case of like a merge node, is it automatically connected to be. Yeah. Okay, I suppose I think so. Yeah, let's check. No, actually it's, it's, it's using the input. Okay. I usually avoid that I want to make my own connections actually. And how do you change that? How would you, how would you change that connection now. So there's a nifty shortcut that shift X, X shift X. So that way, you can shift that around. And that works for for a lot of nodes with two inputs. For example, you've got a key mix node or dissolve node and they all work with the shift X. And one more, what if you wanted to extract a node, like if you wanted to pull out the, the. Now you got me because I'm lazy and I always do command Z command C command V copy paste. I know there is one. So maybe you know, somebody in the chat. Yeah, JT in the chat just put in a command shift X or control shift X. Control shift X. Now command shift X on a Mac. Yeah. Oh, okay. Control shift X on Linux and PC. There you go. Thank you very much. So thank you, JT. Oh, and thank you, Yuri. Cool. All right. Does anybody have any other questions? This is great so far, Christoph. Thank you. Cool. Glad you enjoyed it. So let's, let's move on to the next one. Okay, great. So navigation. So first one very quickly, we won't go through each and every note. I know you guys have probably other stuff to do tonight. So I just wanted to quickly highlight that there are certain node families and that you can quickly visually identify which they belong to. So for example, every 2d node is a square one. So now those are also color coded. So for example, all the transform nodes are this lilac tone color corrections are generally blue channel shuffling is this dark red 3d nodes on the other hand. So once we enter 3d space, we've got these round ones and usually if you're looking for example for for a 3d camera track, it's pretty obvious that those are those big round circles. So that's something if you're sitting in front of a big script. This is what you're looking for. And then I don't want to go either into particles or into deep compositing. So to show there is a certain logic behind all of this. So the, the, the particle nodes are having this, this combination of squared and round and the deep nodes all use this, this arrow like formula to indicate themselves. That's great to know. Thanks. But there's a little bit more to see in the flow graph. So I'll make this full screen for now just so that we all see a little bit more. So I mentioned the the arrow connection. If you're in the script which has had loads of of expressions or trackings linked or whatever and these get a little bit too crowded. You can disable the just the view, not the connection itself by hitting alt E. So then you're, you got to probably a cleaner view and alt E again to bring those screen arrows back. And on the note itself, it's indicated if there is animation present. So that's the big red a on the top right corner that indicates that an animation is present. And for example, if we go back into that view and select that note and head to the curve editor, we can make that animation visible. And on the other hand, on the lower right corner if you see this green E, it means that this note is linked to an expression. So, in essence, this is also got animation but that animation is derived by an expression. So you just get the E. And one more thing I want to highlight here while we're at it back into full screen is the notes also tell you what channels that are present so we can see this is got red green blue so just RGB there's no alpha present, but the corner pin already has got RGB a but nothing else. This one gets an input with RGB but just processes the alpha so that's why these squares are a little bit smaller than the big one here. And while we are speaking of channels. I know this is the part where each and everyone burnt his fingers, those eggs are with 64 channels and we don't know what is what. Well, this is your best friend if you get get a CGI rendering on flame, we can always go shift C and we see all the passes that are there, and we can pipe them out and use them in batch and that's really neat. If we import an ex are into into nuke, we just get that. And, and the 3D guy tells you oh yeah I put you an ambient occlusion and the normal spots and what position pass all in there, and you're sitting in front of there and going well I've got RGB and a. Oh and one more icon that tells you that there are actually more channels. Well, as I said your best friend is the layer contact sheet. What that does. It's a normal note so if you want a new one you just hit up tap their contact. Get that there. And what that does just gives you an RGB representative representation of all the channels present in that XR. So now you know what you're what you're having what you're dealing with. And so how do you get them out of there so let's just say you want the direct irradiance, you want to to pipe that out you want to, you just want to render it out into flame or you just want to treat it or do whatever with it, you need that channel. So what you do, you get yourself this shuffle note. And the best way, especially if the naming is a little bit off like in our example here, the best way to do this is pull up your layer contact sheet and the viewer. And then you go into the shuffle note. Then take a good look. Okay, it's the direct irradiance. This one. There you got it as a channel. And honestly, at least from my experience, a good portion of the new artists sets it up this way that they pipe out all the channels with a bunch of shuffle notes, and then do the shader rebuild and a and a visual way in the RGB a world you can do it differently. But I think this is actually quite nice and very close to the way we would tackle this in flame. So that's it what I've got for navigating scripts. If there are any questions, hit me up. Otherwise, I would hand continue to camera point clouds and UV unwrapping. Sorry, Christoph quick quick question for you on the property panel. Is there a way to, you know, to define like that you only want to nodes shown in there. Because in the past whenever I've double clicked on a nuke node, it shows up. Yeah, over there. But then, like you said, you end up with 10. Yeah, I should have mentioned that I've got this max panels number up here. So by default, this is up to 10. And then this happens, like you said, oh yeah. Yeah, get you get the idea and I put up one more and one more. And you have to scroll down. Well, I usually keep this to two. Why two and not one. Well, for example, if I want to copy tracking data or do an X do a link. Then it's handy to have to up there, but to usually is where I don't have to scroll and and get lost. That's great. That's great. For your, the shuffle property. No, the shuffle know that you had up there a second ago to pick which one of the passes you wanted out of that multi EXR. Can you set that up to do more than one, or would you need? Yeah, okay. Like more. Yeah, shuffle note or do you need a shuffle note for each pass. Actually, you need a shuffle note for each pass they I think the foundry is thinking if this could be opened up to multiple outputs. It's with a question mark. I want to hear what people think about that. But right now if you want to do a shader rebuild you would actually have to do five or six shuffle notes, and you would probably go okay this is my direct irradiance. And then you will put up the next one and the beauty and so forth and so forth until you've got your shader rebuild done. I'm sorry, I just found my first new Python project, and that's going to be to get the label there to automatically list the, the channel that you've got picked. Yeah, that's cool. Yeah, nice. Great. Okay. Anybody have any other questions before we move on. No, I think we're good. Cool. All right. So, as I said in the introduction, I, I like to use new as my kind of side card occasionally from flame also. I've worked on quite a few job either as a flame artist or new artist where flame was the main tool and we had to hand off cleanup stuff to new. And I just wanted to show something which I find really helpful. And that's, we've got a camera track here and this one has been done and you but normally, I would, I would do it and synthesize or somebody like into and his awesome presentation from last week would do it in PF track. So it really doesn't matter which camera this is from. But what I really really dig I have to say is this point cloud generator. So now we know that normal point cloud we get from each and every object, each and every camera track which looks like something like that. And this is also. Yeah, that's a normal point cloud but it really doesn't tell you that much about the scene because it only visualizes the points that you actually tracked. The generator analyzes the picture and the solve camera and tracks additional points and scanner generates a much, much denser point cloud, which looks like that. So that I should have shown the footage first that's sorry. So let's take a look at the footage first. So that's basically just just a normal handheld camera. Let's go around there. Now it's running in real time. Cool. So that's what we tracked. And this is the camera for that. And this is the point cloud generator for that. So let's pull them up both my camera. Okay, so now you got a proper visualization 3D visualization that scene so that could help what kinds of stuff you could use that for relighting or for properly locating something in that scene. But what's also really neat. And NT showed us last week, awesome stuff we did with with projecting on extended by Cubics. Well what you can do here is you can actually select a part of that. That group or that point cloud. And I'll just roughly select this corner here and just points into a mesh. So now you've got a rough geo you can project on and for for a lot of set extension stuff or little removals. This is really a fast way and you've got some tools to modify this and you can actually take it further with the model builder and all that but it's it's pretty neat for cleanup work that you can easily generate yourself some geo. That's nice. That is the other thing you can. The other thing that you can do of course is accurately position stuff with point cloud. So what I did. And I prepped this because you don't want to see me pushing 3D around for 10 minutes. I put a cylinder where where that mailbox is. And I just projected the footage onto that. So this is the footage coming in. This is a projector so you can you can imagine this like like a diffuse map and flame. Being fed by the by the whole camera so this is not like a frozen camera or locked frame this is the moving camera projecting onto that. That's Linda. And then, and this is neat. You can do an UV unwrap of that texture. So that way. You can do all kinds of stuff on that, even on things that are just a card or ground plane. So for example, what I did very roughly is to paint that out. The little tagline there. So we take a look at the original material. So just take a look at for this. So that turns around while the camera pans along. That was basically three clone brushes on that unwrapped texture and it was gone the whole time. But I thought we should have a little fun with that as well. So I added something to that unwrap. I'm just showing you the unwrapped texture and mind you, this does not get re projected. Instead, I copy the cylinder and texture it with that directly. And the result of that and I pre rendered that as well because it just I've got a little iMac here and this would really kill it. So that's a little slap comp. What I thought it shows the the potential quite nicely of what we can do with that. That's great. So everybody things with 3D tracking of big set extensions or met paintings and I really think if you've got a good 3D track you can do so much nice cleanup really fast and efficiently. And so yeah, and honestly, the the want to do your comp and flame and who doesn't, the point cloud generator can be a great tool to just get generate yourself some quick geo to project on export that as an fbx, get it into flame, hook up the same camera camera you used in you for the point cloud generator and you're good to go. Oh, somebody just asked that question that's perfect. Cool. So, yeah, is that something you could, you could show with at least how you export this stuff as an fbx even if we don't play. I haven't done it in a long time so bear with me. But so what could possibly be wrong. What, what in the world. We've got our mesh. And we have got a right geo node. So with that we can, it's like the right note but it'll write a geometry. So we'll select a location for that. This logic live. Put an application data. And let's name this mesh dot fbx dot x. And right. Let's see. And should be the range. Head over to flame. Living on the edge my friend. Oh, it'll work it'll work. So let's see my favorite so work it'll work. I hope. So let's see import. Have to move zoom here a little bit. So, let's add to that. That's wrong. Sorry. Right. Projects. And application data new. As the mesh. So that's a geo. So I would need the camera now. Let's see if we can get that one over as well. I don't. I hope, because normally I would have tracked and synthesize then it wouldn't have been a problem but this one I tracked in you so I don't know if I can write the camera out. No, no, he'll won't let me do that. Don't seem able to export the camera right now. You're saying you need a scene node, a scene node. Let's try that. No right you. Yeah, let's see. And we would go with an fbx as well. So I'll forget measure I'll put in the mesh as well. FBX flame. So let's put that up as the cam. Whoa. I'll get that footage. Thank you, Yuri. Yeah, that was great. Thanks. So I'll quickly do it dirty like that. Where is the mailbox. Sorry, I got that from somewhere else. So bear with me a minute here. We want to see if this work properly. Sure. So, okay. Two, two, six. Got it. Change that color space. Yeah, there you go. That's great. Nice. Nice. Yeah, so they do play together after all. Yeah, that's what I've got prepped for today. So I hope somebody found this useful. And if you've got any questions, hit me up either here or on YouTube. I'll go through the logic and I'll try to answer them. I'll pass it on to Yuri. This has been great. Actually, I had a question for you, Christop. Sure. Go back to Newk for a second. Sure. If you wouldn't mind just take me through the flow graph. I'm so used to seeing everything going from left to right. But yeah, like from basically everything in red, like where you went from camera track, to the left. All right. So my main stream would be this one basically. So this is more like playground area. You could call it where set up stuff. And I'll delete this because this wasn't originally there and not really integrated. So this is the camera. And so there's this. This is the undistorted image. So normal image, undistortion goes into the camera tracker, creates a camera, results here. And then our image goes into a project 3D. And that is fed into a cylinder or projected onto a cylinder. I should say it that way. So this is what happens there. So now we're in 3D space. We need to get back. So that's what we need the scan line renderer for. So if you pull that up, normally this would need at least an object or a scene. So we feed in the cylinder and a camera to create a picture. However, on this one, we changed the projection mode from render camera to UV. So we ran render the UVs. And this doesn't need a camera. So that's why we get this picture. So that's the UVs of that cylinder. That basically now we're back in 2D land and can apply a roto paint, which painted away the little graffiti up there. And then I just did a little color correction and transform and blur basically the same stuff I did on that mailing box in the first part of the presentation and edit that to a neat logic life logo, put that there. And the shuffle basically is there to supply the whole thing with a white alpha. And then it gets fed back in without a project 3D or anything just as a plain texture. So this cylinder, this one is a copy of this one needs to be in the identical position. These need to be exactly the same. Otherwise it won't work. And then down here, this gets just a reformer to make sure it's in the say in the in the correct resolution. And then into a scan line renderer, it gets fed the camera. And the result looks like that. And I merged that on top of the original footage. And normally I would have needed to read this thought this image. I forgot that. And then it fed into the right note. And that's basically all that was to that. That's great. Thank you so much. Thank you. Wonderful. There was one question from the chat for you and that was the undistortion. Was that automatic or did you have to input lens info? Well, as I said, this is this is footage that was from an original course. I think from Victor Perez. Great new course. And he supplied great. Let me take a look. Lens grid. Yeah. Yeah. And the lens grid. So all the stuff we never get in real life. At least that we can agree. Yeah. True enough. Awesome. So yeah, that's how the lens. Undistortion was done pretty easy with a grid. That's great. Sad, but true. That's wonderful. Anybody have any other questions for Christophe? All right. Well, Christophe, thank you very much. And of course, you can always hit them up. Like you said, the over at logic. If you do have any questions. Christophe, thank you so much. Great pleasure. Our upcoming logic live sessions. We have a little bit of a schedule change. With everybody working from home. We thought it would be good to have a little, a little tech talk. So next week. Sunday, April 19th, we're going to have a logic tech talk with Alex and Alan Terry. The guys have some things that they want to show in terms of like best practices and some ways you can configure things at home. But if you are working at home, if there's some technical things that you keep running into and you have some questions and you'd like to hear them discussed, obviously you can do them in the chat, but if you want to send them to me ahead of time, just email them to logicvfx at gene mail.com. And we thank Jack and Alan for that. That's going to be followed on Sunday, May 6th by CG compositing and flame and color management with our friend John Ashby. And then I'll do the Python scripts for flame on Sunday, May 3rd. And we have a bunch of other things also in the pipeline for later in May. And I'm looking forward to telling you about those. A reminder for logic fest, you got one more week to get your tips and tricks and techniques in there. So please submit those over at logic.TV or one frame of white.com. And this will be up on logic.TV. So if you want to get it up there, if you guys could do me a favor and when the videos are up, if you could subscribe to the YouTube channel, that would be wonderful. We'll try to get as many subscribers to that as we can. And that's going to do it for logic live this week. So thank you very much. You can Christoph. Thanks to our friends at Autodesk for, for the tech support with the zoom meeting here. And everybody have a wonderful and safe week. We'll see you online.