Re: [Nuke-users] Selective colour in nuke

[Stepan Z]

os -961
>>>>>   ypos 1350
>>>>>  }
>>>>>  Dot {
>>>>>   name Dot31
>>>>>   xpos -930
>>>>>   ypos 1995
>>>>>  }
>>>>> set N95f02000 [stack 0]
>>>>> push $N95f02c00
>>>>>  Premult {
>>>>>   invert true
>>>>>   name Neutral
>>>>>   xpos -1041
>>>>>   ypos 1350
>>>>>  }
>>>>>  Dot {
>>>>>   name Dot30
>>>>>   xpos -1010
>>>>>   ypos 1762
>>>>>  }
>>>>> set N95339800 [stack 0]
>>>>> push $N951c5400
>>>>>  Dot {
>>>>>   name Dot2
>>>>>   xpos -540
>>>>>   ypos 780
>>>>>  }
>>>>>  Expression {
>>>>>   channel0 rgb
>>>>>   expr0 1-max(r,g,b)
>>>>>   channel1 {-rgba.red -rgba.green -rgba.blue none}
>>>>>   channel2 {-rgba.red -rgba.green -rgba.blue none}
>>>>>   channel3 {none none none -rgba.alpha}
>>>>>   name scExpression2
>>>>>   label max
>>>>>   xpos -571
>>>>>   ypos 852
>>>>>  }
>>>>>  Dot {
>>>>>   name Dot27
>>>>>   xpos -540
>>>>>   ypos 1441
>>>>>  }
>>>>> set N95338800 [stack 0]
>>>>>  Dot {
>>>>>   name Dot26
>>>>>   xpos -540
>>>>>   ypos 2258
>>>>>  }
>>>>>  Copy {
>>>>>   inputs 2
>>>>>   from0 rgba.green
>>>>>   to0 rgba.green
>>>>>   name scCopy2
>>>>>   xpos -1041
>>>>>   ypos 2240
>>>>>  }
>>>>>  Copy {
>>>>>   inputs 2
>>>>>   from0 rgba.blue
>>>>>   to0 rgba.blue
>>>>>   name scCopy3
>>>>>   xpos -961
>>>>>   ypos 2472
>>>>>  }
>>>>> push $N9a9b3400
>>>>>  Shuffle {
>>>>>   red blue
>>>>>   green red
>>>>>   blue green
>>>>>   name BRG
>>>>>   label "120deg HueShift back"
>>>>>   xpos -1249
>>>>>   ypos 886
>>>>>  }
>>>>> push $N9a9b2c00
>>>>>  Merge2 {
>>>>>   inputs 2
>>>>>   operation min
>>>>>   name scMin
>>>>>   label "CMY incWhite \n"
>>>>>   xpos -1524
>>>>>   ypos 886
>>>>>  }
>>>>> set N922ab400 [stack 0]
>>>>>  Dot {
>>>>>   name Dot13
>>>>>   xpos -1349
>>>>>   ypos 956
>>>>>  }
>>>>> push $N951c4800
>>>>>  Dot {
>>>>>   name Dot18
>>>>>   xpos -1206
>>>>>   ypos 1026
>>>>>  }
>>>>>  Merge2 {
>>>>>   inputs 2
>>>>>   operation minus
>>>>>   name CMY
>>>>>   label "CMY only"
>>>>>   xpos -1380
>>>>>   ypos 1090
>>>>>  }
>>>>>  set C922aa800 [stack 0]
>>>>> set N922aa800 [stack 0]
>>>>>  Dot {
>>>>>   name Dot23
>>>>>   xpos -1349
>>>>>   ypos 1355
>>>>>  }
>>>>> set N922aa400 [stack 0]
>>>>>  Shuffle {
>>>>>   red blue
>>>>>   green red
>>>>>   blue green
>>>>>   name scShuffle1
>>>>>   xpos -1380
>>>>>   ypos 2079
>>>>>  }
>>>>> push $N922aa800
>>>>> push $N951c5800
>>>>>  Shuffle {
>>>>>   red green
>>>>>   green blue
>>>>>   blue red
>>>>>   name GBR
>>>>>   label "120deg HueShift back"
>>>>>   xpos -943
>>>>>   ypos 881
>>>>>  }
>>>>> push $N951c5c00
>>>>>  Merge2 {
>>>>>   inputs 2
>>>>>   operation min
>>>>>   name scMin1
>>>>>   label "CMY incWhite \nHue rotated"
>>>>>   xpos -1110
>>>>>   ypos 868
>>>>>  }
>>>>>  Dot {
>>>>>   name Dot33
>>>>>   xpos -1079
>>>>>   ypos 990
>>>>>  }

Re: [Nuke-users] Selective colour in nuke

[Stepan Z]

Hello Howard 

Thanks for doublechecking, thats what i found as-well! I think selective colour 
on relative in photoshop just does something completely different. I'll keep 
playing around with it and see what i find! 

Thanks for your help!

All the best 

Stepan

> On 6 Apr 2017, at 19:44, Howard Jones  wrote:
> 
> Hi Stepan
> 
> Had a chance to have a look at the regrading is done like this
> 
> The image is split into its Primaries, secondaries and tertiaries and these 
> create mattes. 
> 
> These mattes are then multiplied by the colour - so from this I would think 
> that this already is a relative grade as, for example only 50% red is applied 
> to a 50% matte.
> 
> Cheers
> 
> Howard Jones
> Visual Effects Supervisor
> m: 07973 265624 | e: how...@axis-vfx.com | w: www.axis-vfx.com
> 
>> On 1 Apr 2017, at 19:30, Howard Jones  wrote:
>> 
>> The main area is quite simple, once the image has been split up into its 
>> primaries, secondaries and tertiaries, you have a set of mattes which are 
>> coloured back to the original colour. This is done with an offset from 
>> memory. This is already multiplied by the matte so it may already be 
>> relative. Not sure. 
>> 
>> If not it may be a case of multiplying a constant by the matte. However I 
>> think I used to do that and it didn't handle values greater than 1. 
>> 
>> Anyway at the moment I haven't worked out how to do this without an 
>> expression node, which maybe the answer anyway. 
>> 
>> Howard
>> 
>>> On 31 Mar 2017, at 5:50 pm, Howard Jones  wrote:
>>> 
>>> Ok 
>>> Send anything back please and I can update the tool. 
>>> 
>>> Howard
>>> 
 On 31 Mar 2017, at 5:34 pm, motion artist  wrote:
 
 Thanks Howard! I'll experiment and see what I manage to come up with! 
 
 All the best
 
 Stepan
 
> On Thu, Mar 30, 2017 at 5:53 PM, Howard Jones  wrote:
> Found this, I’d have to have a think but don’t wait up for it.
> 
> https://www.dpreview.com/forums/post/26485128
> 
>> Relative - Changes the existing amount of cyan, magenta, yellow, or 
>> black by its percentage of the total. For example, if you start with a 
>> pixel that is 50% magenta and add 10%, 5% is added to the magenta (10% 
>> of 50% = 5%) for a total of 55% magenta. (This option cannot adjust pure 
>> specular white, which contains no color components.)
>> Absolute - Adjusts the color in absolute values. For example, if you 
>> start with a pixel that is 50% magenta and add 10%, the magenta ink is 
>> set to a total of 60%.
>> 
>> Note: The adjustment is based on how close a color is to one of the 
>> options in the Colors menu. For example, 50% magenta is midway between 
>> white and pure magenta and receives a proportionate mix  of corrections 
>> defined for the two colors.
>> 
> 
> Howard Jones
> Visual Effects Supervisor
> m: 07973 265624 | e: how...@axis-vfx.com | w: www.axis-vfx.com
> 
>> On 30 Mar 2017, at 16:54, motion artist  wrote:
>> 
>> Hello again
>> 
>> So the Secondary Colour works a treat, but I was wondering how to 
>> implement the Relative vs Absolute option that the PS selective colour 
>> has in Nuke. It doesn't seem like anyone from the photoshop community 
>> knows exactly how this works. Has anybody tried reverse engineering that?
>> 
>> Appreciate all the help
>> 
>> All the best
>> 
>> Stepan
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> 
> 
> 
> A X I S V F X
> The Bottle Yard Studios
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> Bristol BS14 0BH
>  
> axis-vfx.com
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Re: [Nuke-users] Selective colour in nuke

[Stepan Z]

Yeah NS with a bit of a faster performance (impoved a lot in 10.5)  and more 
tools 'on the surface' in the timeline environment would be my absolute 
favourite software to work in. But I think i can be dreaming with this a little 
bit. That would make NS a flame, and i don't know if they want it to be a flame 
or more of a comp management tool.

> On 30 Mar 2017, at 15:36, Martin Constable  wrote:
> 
> 
>  However, I just finished grading a (very) short movie in Nuke studio, and 
> wish working on its timeline was a nicer experiance. 
> 
> 
> 
> 
> Sent from my iPhone
> 
>> On 30 Mar 2017, at 9:18 PM, motion artist  wrote:
>> 
>> I'm a colourist rather than a compositor. And I really like how selective 
>> colour works on skintones in photoshop and I would like to be able to do the 
>> same in Resolve. I think that the effect of selective colour on skintones 
>> and particularly the cyan slider in the red is much nicer than the hue vs 
>> hue curves in resolve or hue correct in nuke. I understand that you could 
>> probably get the same results with a bit of wiggling around but i also find 
>> it interesting to udnerstand how these things work. 
>> 
>> I do find reverse engineering things like this easier in Nuke first because 
>> the toolset is much broader than resolve. Will the try to apply it in 
>> resolve. This all might sound a little bit backwards but it work for me so 
>> far.
>> 
>> All the best
>> 
>> Stepan
>> 
>>> On Thu, Mar 30, 2017 at 1:27 PM, Martin Constable  
>>> wrote:
>>> Am a matter of interest, why do you want this?
>>> 
>>> I am a fan of Selective Color in PS as well. It is the only decent Hue tool 
>>> in PS. However… in Nuke we have the great Hue Correct, which, as far as I 
>>> can see, does a better job of the same task.
>>> 
>>> 
>>> Martin Constable
>>> 
>>> 
>>> > On 30 Mar 2017, at 6:29 PM, motion artist  wrote:
>>> >
>>> > Hello
>>> >
>>> > I was wondering if anyone has tried rebuilding the selective color 
>>> > operator in photoshop inside of nuke? Or maybe there are gizmos that are 
>>> > working in the same way? A quick google search doesn't seem to give much 
>>> > result in terms of the actual technicalities of how that operator works.
>>> >
>>> > Thanks for the help!
>>> >
>>> > Stepan
>>> >
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Re: [Nuke-users] Nuke Studio and arri LogC

[Stepan Z]

Hello i didn't think about the bitrate! Thank you Andrew! I'll read about the 
compare node!

All the best 

Stepan 




> On 25 Oct 2016, at 22:19, Andrew Mumford <a_mumf...@mac.com> wrote:
> 
> Are your dpx's 10 bit ? - That would make it different for sure !
> 
> There's also a "hidden" but wonderful node called"Compare" that is great for 
> checking these things - gives you a visual and error based output.
> ---
> Andrew Mumford
> 
>> On Oct 25, 2016, at 09:56 AM, Stepan Z <motionarti...@gmail.com> wrote:
>> 
> 
>> Hello
>> 
>> I'm using nuke studio to conform a few short edits, publish a source dpx 
>> sequence and a nuke script. 
>> 
>> So i'm bringing in original alexa logc encoded prores files, and publishing 
>> dpx sequence with logC set as the colorspace in the export dialog. When i 
>> then bring over that dpx sequence back into NS and drop it on top of the 
>> prores and disable all colour transforms (viewer to none instead of sRGB and 
>> the per file transform to linear) perceptually the files look identical. But 
>> when you sample a pixel or an area with the viewer the rgb values after two 
>> decimal places seem to change when your flicking between dpx and prores. 
>> 
>> Is this normal and is just the difference in encodings or should they be 
>> exactly the same given that they come from the same file and are in the same 
>> colourspace? 
>> 
>> 
>> 
>> 
>> 
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[Nuke-users] Nuke Studio caching

[Stepan Z]

Hello

I was wondering if there is a way to completely disable nuke studios cache? I'm 
trying to test server speed and performance with a uhd dpx sequence. I know 
that in Resolve by default when the cache is not enabled there is no precaching 
being done. It literally reads straight off the server and writes straights to 
it. Its very clearly visible in the task manager, that network activity starts 
going wild once you hit play and drops off when you pause. Is this possible to 
set up in NS? 

All the best 

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[Nuke-users] Nuke Studio and arri LogC

[Stepan Z]

Hello

I'm using nuke studio to conform a few short edits, publish a source dpx 
sequence and a nuke script. 

So i'm bringing in original alexa logc encoded prores files, and publishing dpx 
sequence with logC set as the colorspace in the export dialog. When i then 
bring over that dpx sequence back into NS and drop it on top of the prores and 
disable all colour transforms (viewer to none instead of sRGB and the per file 
transform to linear) perceptually the files look identical. But when you sample 
a pixel or an area with the viewer the rgb values after two decimal places seem 
to change when your flicking between dpx and prores. 

Is this normal and is just the difference in encodings or should they be 
exactly the same given that they come from the same file and are in the same 
colourspace? 





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Re: [Nuke-users] Nuke Studio : HDCAM SR 444

[Stepan Z]

Not sure on how to get it working in nuke studio but I think resolve could be 
quite efficient to transcode. You can conform the xml in there, then transcode 
only the used media with any number of handles using media management. That 
will also relink to new files. Then you just export an xml from resolve and 
conform that in nuke studio. That way you're not transcoding files that you 
don't need. 

All the best 

Stepan


> On 29 Sep 2016, at 05:56, Phillip Lange  wrote:
> 
> Hi ,
> 
> Just wondering if any one has come up with a way to import HDCAM SR 444 files 
> from a Sony F55 into Nuke Studio ?
> 
> The come wrapped as a .mxf 
> 
> Our editor can read them into FCX and we'd like to be able to just export an 
> xml from there that Nuke Studio can read. We're trying to avoid trans coding 
> all the media in another application.
> 
> If this isn't possible can people suggest the best way to transcode the media 
> ?
> 
> We're running Nuke Studio 10.0v2 on Windows7
> 
> thanks
> 
> Phillip Lange
> 
> 
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[Nuke-users] Good math book for compositors

[Stepan Z]

Hello!

I'm looking for a good compositing book that goes into math for compositing. I 
think i really lack the technical understand of what nuke does under the hood. 
Would anyone be able to recommend anything? 

All the best

Stepan 



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Re: [Nuke-users] Good math book for compositors

[Stepan Z]

Well i'm not too sure myself of the level if i'm honest. Right now my knowledge 
is probably of high school level, not more, but if there are various options 
then it would be interesting to check em out anyway! 

All the best 

Stepan 




> On 13 Dec 2015, at 19:25, Ron Ganbar <ron...@gmail.com> wrote:
> 
> What level are we talking about? 
> To get started I'm always recommend The Art and Science of Digital 
> Compositing by Ron Brinkmann and Digital Compositing for Film and Video by 
> Steven Wright. They both cover everything, but from two different angles. 
> Both have a fair amount of math in them.
> 
> R
> 
>> On Dec 13, 2015 21:09, "Stepan Z" <motionarti...@gmail.com> wrote:
>> Hello!
>> 
>> I'm looking for a good compositing book that goes into math for compositing. 
>> I think i really lack the technical understand of what nuke does under the 
>> hood. Would anyone be able to recommend anything?
>> 
>> All the best
>> 
>> Stepan
>> 
>> 
>> 
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Re: [Nuke-users] Blackmagic film

[Stepan Z]

I use resolve on a daily basis and although i do understand the greatness of 
such software at such pricepoint i have to say that a lot of it is awful.

1) The Baziers are awful. It's 2015, have you seen another piece of software 
were you can't select and drag several bazier points at once? This is kind of 
crucial functionality as-well, you need to be able to mask garbage matte and 
hold out matte efficiently to be able to color. The points and the bazier 
curves themselves look awful. The points are thick and click area for them is 
massive so a lot of the times when you have the points close together you miss 
click and select the wrong one. A good example is nukes baziers. Resolves 
baziers and nukes baziers are just centuries apart.

2) The keyframe editor is awful. Again you can not select several, copy and 
paste, you often misclick. Also when rotoing and keyframing two baziers you 
cannot put the keyframes for the second bazier with a shortcut. This is a bug 
thats been around for ages. And i have reported it many times. Again resolves 
keyframe editor and nukes are just worlds apart. 

3) Timeline functionality is uber shit. It's slow and laggy. It's impossible to 
edit. You grab a clip and drag it to a different location and it reacts after 
half a second. And this is on shortform work. I cannot imagine how guys like 
company 3 use it for features with 4k or 6k in timeline. And this is bearing in 
mind that blackmagic is uber proud of resolve being a ' full blown editor' and 
they are pushing this direction severely. 

4) lack of custom mapping for smaller panels. Why is this even a question in 
2015? And this brings us to another issue:

5) lack of full log controls. You cannot map contrast and saturation and offset 
onto the rings like baselight. 

6) There is no support for pure maths color transforms. Jeez this is a grading 
program, this is the main functionality that should be in any grading program. 
Baselight has truelight, mistika has some implementation. Nuke has OCIO. And 
resolve only has luts. Something is happening with the new color management in 
resolve l 12 but again, is this user customisable? Can you create your own 
transform? No news on that. 

These are only the issues i remember right now on saturday night. There are 
lots of generally annoying and small issues like the fact that tracking info 
comes through with remote grades which makes you make 20 version of grades to 
work around this. 

So yep, pretty awful. 






 On 18 Jul 2015, at 17:10, Simon Blackledge 
 simon.blackle...@spacedigital.co.uk wrote:
 
 And that makes it awful?
 
 
 Next you'll be saying all compers know best lol.
 
 
 
 
 Sent from my iPhone
 
 On 18 Jul 2015, at 16:31, Michael Garrett michaeld...@gmail.com wrote:
 
 It comes from the culture of colourists.
 
 On 17 July 2015 at 17:28, Simon Blackledge 
 simon.blackle...@spacedigital.co.uk wrote:
 What's wrong with Resolve?
 
 Sent from my iPhone
 
 On 17 Jul 2015, at 21:40, Michael Garrett michaeld...@gmail.com wrote:
 
 There is definitely latitude, which is really nice for such affordable 
 cameras. I'd like to map to a grey card to see how many stops above 18%. 
 The primaries do not match though, but maybe when ACES is in sync in Nuke 
 and Resolve we will see the images matching. Despite that, there is a 
 richness to the colour of the vanilla ACES image.
 
 Resolve is awful software! Which I guess is the whole point of this 
 thread. I'd much rather bypass it unless it can be made more speedy to use.
 
 On 17 July 2015 at 02:03, Gary Jaeger g...@corestudio.com wrote:
 Yep, thanks. That’s what I did. It results in an image quite a bit nicer 
 than bringing in the dng files directly to nuke. If i have time tomorrow 
 I’ll post an A/B but there is quite a bit of color ‘fringing’ (?) with 
 the dng files that is not present when converted to .exr files through 
 resolve. And the overall latitude seems much better. 
 
 Gary Jaeger // Core Studio
 249 Princeton Avenue
 Half Moon Bay, CA 94019
 650.728.7957 (direct)
 650.728.7060 (main)
 http://corestudio.com
 
 On Jul 16, 2015, at 8:31 PM, Michael Garrett michaeld...@gmail.com 
 wrote:
 
 Gary,
 
 The basics of the ACES route through Resolve are:
 
 - Set up the project working space as ACES
 - Apply the CinemaDNG IDT to the input clips (there is a way to do it 
 globally).
 - Turn off the ODT in the prefs. This is counterintuitive since your 
 image will be dark in the viewer, so if you want to do any grading in 
 Resolve you need to turn off the ODT only before you export.
 -Export through the render queue as exr.
 
 I used linear ACES, not log.
 
 
 Cheers,
 Michael
 
 
 On 15 July 2015 at 12:18, Gary Jaeger g...@corestudio.com wrote:
 Agreed. Michael, can you remind me (if you remember) the steps to get 
 linear exrs out? I’ve done it but it’s been a while. If i remember 
 correctly, there are a few places to change settings. 
 
 - Clip Settings
 - Right click on Clip to set LUT
 - Project 

Re: [Nuke-users] Nuke Studio relinking comps

[Stepan Z]

Nope. That is all set up and the project still opens all red shouting that it's 
offline! 

Stepan




 On 17 Jul 2015, at 10:10, Henrik Cednert n...@irry.com wrote:
 
 Hey
 
 Have you played with path substitutions in settings? That doesn't work?
 
 --
 Henrik Cednert
 cto | td | compositor
 
 Filmlance International 
 Cell +46 (0)704 71 89 54
 www.filmlance.se
 
 On 17 Jul 2015, at 10:58, motion artist motionarti...@gmail.com wrote:
 
 Hello
 
 I am working on a project in nuke studio on a Windows 8 machine. Everything 
 is linking right and all is good. I then close the project and open it on a 
 Mac running mavericks, and all of my media and the comps are offline. So the 
 question is how do I relinking the comps so the render into the timeline 
 again and so I see all versions of them?
 
 A bit about how i've setup the comps: I'm using comp special that creates a 
 dpx sequence from to read in to the comp and then a write node to write a 
 dpx sequence that is then read into Nuke Studios VFX track. So it's this non 
 trivial link that is really confusing because clearly the timeline is 
 reading from the write nodes dpx sequence, but it also searches for new 
 versions of the comps. Therefore it has to be connected to the .nk script. 
 And how do then relink it? 
 
 Thanks for the replies. 
 
 Stepan
 
 
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Re: [Nuke-users] Nuke Studio relinking comps

[Stepan Z]

Hello Massao

Thanks for the link, i'll definitely have use for it, however the read nodes 
within the comps are not a problem. Once opened in the node graph the comps are 
all working fine, but in the timeline they are shown offline, as are all of the 
other clips underneath the vfx track. But if the other clips i can relink 
through the spreadsheet, i don't know how to approach the comps in the vfx 
track. Maybe i should send a few screens through. Will do that tomorrow!

Stepan 




 On 17 Jul 2015, at 19:19, Massao Asaga massao.as...@gmail.com wrote:
 
 Hi, if i understand your necessity, when change the system, links maybe 
 doesn't work so this python must work to relink your media.
 
 
 http://www.nukepedia.com/python/misc/bvfx-find-path
 
 On Fri, Jul 17, 2015 at 7:24 AM, Stepan Z motionarti...@gmail.com wrote:
 Nope. That is all set up and the project still opens all red shouting that 
 it's offline! 
 
 Stepan
 
 
 
 
 On 17 Jul 2015, at 10:10, Henrik Cednert n...@irry.com wrote:
 
 Hey
 
 Have you played with path substitutions in settings? That doesn't work?
 
 --
 Henrik Cednert
 cto | td | compositor
 
 Filmlance International 
 Cell +46 (0)704 71 89 54
 www.filmlance.se
 
 On 17 Jul 2015, at 10:58, motion artist motionarti...@gmail.com wrote:
 
 Hello
 
 I am working on a project in nuke studio on a Windows 8 machine. 
 Everything is linking right and all is good. I then close the project and 
 open it on a Mac running mavericks, and all of my media and the comps are 
 offline. So the question is how do I relinking the comps so the render 
 into the timeline again and so I see all versions of them?
 
 A bit about how i've setup the comps: I'm using comp special that creates 
 a dpx sequence from to read in to the comp and then a write node to write 
 a dpx sequence that is then read into Nuke Studios VFX track. So it's this 
 non trivial link that is really confusing because clearly the timeline is 
 reading from the write nodes dpx sequence, but it also searches for new 
 versions of the comps. Therefore it has to be connected to the .nk script. 
 And how do then relink it? 
 
 Thanks for the replies. 
 
 Stepan
 
 
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 -- 
 Massao Asaga
 VFX Supervisor/Nuke Senior Compositor/After Effects Artist.
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