![]() ![]() In many cases, this is all you need to do to perform a key, since selecting the screen color creates a screen matte and despills the foreground. Picking the screen color also sets the Screen Balance. In the Viewer, Ctrl/Cmd+Shift+Alt+click and drag a rectangular area over the blue pixels as shown below. From the Keyer menu, apply Keylight and attach a Viewer.Ĭlick the color swatch next to Screen Color to activate the eye dropper. The figure above is the blue screen foreground that should be composited over the background shown below. Quick KeyĬonsider this shot from The Saint, pictures courtesy of CFC and Paramount British Pictures Ltd. Changing the preference only affects new Viewer nodes.This section explains how to use the blue/green screen keyer, Keylight, in Nuke. The default Viewer renderer is also included in the Preferences under Panels > Viewer > default renderer. Increasing the number of samples improves the rendered output, but uses more OS resources and can affect performance. OIT Number of Samples controls the render quality when you have multiple overlapping semi-transparent objects in the 3D Viewer. You can also select whether or not to display lights, materials and/or shadows in the Hydra Viewer by toggling the relevant checkboxes. The Hydra viewer is the default 3D viewer, but you can revert to Nuke’s legacy Viewer in the Viewer node's Properties > 3D > renderer dropdown. The Hydra Viewer is more consistent with other applications in your pipeline, such as Katana, Solaris, or USDView, as well as providing output that represents the output from ScanlineRender nodes more accurately. Nuke 13.0 onwards includes a new Hydra 3D viewport, which uses hdStorm as a new renderer. For example, you can texture a 3D object with a 2D clip, or take the rendered output from a 3D scene and use it as a 2D background. As shown above, you can mix 2D and 3D objects together in the node tree. The 3D objects in Nuke appear as round shapes to differentiate them from objects that perform 2D operations. These are scenes with 2D image planes arranged into a curved shape, and then rendered out through an animated camera to give the illusion of a seamless environment. You’ll also see how to texture objects, transform objects and cameras, and render out scenes for use in other areas of your script.Īlthough the 3D workspace has many potential uses, you’re most likely to use it - at least initially - to create pan-and-tile scenes. This chapter explains how to set up a 3D scene in Nuke, and how to add objects and cameras in the 3D workspace. ![]() ![]() ![]() Nuke’s 3D workspace allows you to set up a 3D composite for camera moves, set replacement, and other applications where you need to simulate a "real" dimensional environment. ![]()
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