Production of video layers is either done by planning in advance using a chroma key green or blue screen.
The Art of Roto: 2011
Or by using the process of Rotoscoping, which involved tracing around the edge of the feature you want as a video layer. For footage at 24 frames per second it can take more than week to process frames of footage to finished quality.
This requires a skilled labour force, typically billed at more than USD dollars a day. During this time, downstream departments will be blocked waiting for the video layers.
But it does the digital content creation equivalent of that request. Your task is to input the footage into your digital content creation package put it into the correct colour space and appropriate resolution, ask for the types of video layers you want by checking a tick box next to the label of person, car, cat, etc.
This task could also be automated as part of the media ingest process. Then allow Rotobot OpenFX Plugin to process the footage to a quality which is close enough to allow processes which would otherwise be blocked waiting for the highest quality result, or adding to the cost by rushing a placeholder. The speed of the computation is only limited by the scale of computational resources occupied and the number of concurrent licenses purchases.
If you have five times as many licenses and computers you will get the result back in one fifth of the time, using the same shared pool of computation that a company has in place for the rest of the compositing tasks. Same if you have one hundred times the amount of licenses and computation, you can process in near realtime. None of your data will ever leave your local network, licensing and software is installed locally, but if you engage your own trusted cloud provider this configuration can work equally well.
The two components are the Plugin to the compositing package and the license server. Many studios have been up and running in under an hour from receiving the installer and the software license.
So you could choose, truck, car, train and bus in red, and person in green and then bird in red. Then shuffling the channels out you can use this to mask and effect like desaturating the background that is not person or the vehicle categories.
Typically we would spend hours creating masks by hand tracing around footage at 24, With Rotobot, we can process a frame of footage in as little as seconds depending on your hardware 64 bit processors and 2GB of RAM are required.
No GPU is required. But that can be more like 0. The accuracy of the masks is limited to the quality of the deep learning model behind Rotobot. The developers at Kognat are working hard to improve the accuracy and resolution. Skip to content. Sorry, your blog cannot share posts by email.Rotoscoping is the process of manually altering film or video footage one frame at a time. The frames can be painted on arbitrarily to create custom animated effects like lightning or lightsabres, or traced to create realistic traditional style animation or to produce hold-out mattes for compositing elements in a scene and, more recently, to produce depth maps for stereo conversion.
As a VFX artist, you are primarily creating motion graphics or visual effects. A thorough knowledge of rotoscoping and roto tools is vital to solving a vast amount of problem solving in VFX: rig removal, stereo conversion, greenscreen compositing, hold out mattes, split screens, and even object or feature-based color grading. It is perhaps one of the widely used tools in visual effects. With a thorough knowledge of rotoscoping, digital artists can create better live-action or CG composites as well as amazing visual effects.
Various rotoscoping techniques are covered below, including matte creation, effects painting, paint touch-up, digital cloning, stereoscopic conversion and motion tracking, as well as a brief history of the craft and summary of the tools. Bug Goes to Town. Perhaps most importantly, Fleischer invented the rotoscope, a device that changed the look of animation forever. Born in Vienna, Austria inMax Fleischer immigrated with his family to America at the age of four.
His artistic skills were quickly recognized, and instead of attending public high school he opted for the Art Students League in New York. While attending school he landed his first job at the Brooklyn Daily News, where he worked as an assistant in the cartoon department.
Within a few years, he was a full-time staff artist with his own comic strip. He then moved on to Popular Science Monthly, which sparked a life-long fascination with machinery and inventions. While working at this magazine, Fleischer began working on his plans to create the rotoscope. Early animated films were crude, jerky and difficult to look at. They were not very popular and were only tolerated because they were a curiosity.
The Foundry NukeX Keyboard Shortcuts
Max Fleischer aimed to change this by inventing a device that would allow them to project live action film onto the glass of an animation stand. The animators could then place paper on the animation stand and trace the live action footage one frame at a time. If he wants an arm to move, he will draw the figure several times with the arm in the positions necessary to give it motion on the screen.
With only the aid of his imagination, an artist cannot, as a rule, get the perspective and related motions of reality. The rotoscope, though, allowed animators to work from a filmed image, which gave them the guidance they needed to create more graceful and realistic movement on screen. The first cartoons created by the Fleischers using the rotoscope were the Koko the Clown series, and they then went on to utilize it in Betty Boop and Popeye. Though they used rotoscoping to create the main characters, they continued to rely on traditional rubber hose style animation in their cartoons.
The Fleischers pioneered other traditional animation priniciples in their studio which changed the face of modern animation, right up to today.
The difference was that the Fleischers would have assistants draw the in-betweens while the lead animators moved on to create more keyframes. During the s, the Fleischers found themselves in an ongoing competition with another animator — Walt Disney. The Fleischers and Disney constantly raced one another to each new milestone in animation — first sound cartoon, first color cartoon, and first feature.
Walt Disney also turned to rotoscoping, for Snow White. The company, Bosworth, Defresnes and Felton, had never patented it, so Fleischer actually was entitled to sue, but he evidently lost interest in pursuing the Disney case after hearing about the earlier machine.
The movements of Snow White herself were acted out by a high school student named Marjorie Belcher, later known as dancer Marge Champion. Nevertheless, some of the Disney animators looked down on the idea of rotoscoping. Another, Grim Natwick, said that even when the artists used the device, they used it only as the basis for their work, adding heavy elaboration and even changing the proportions of the original filmed figures.
But rival animator Walter Lantz criticized the look of the rotoscoped work in Snow White. Yet rotoscoping did help the artists on Snow White maintain a consistency that might otherwise have been impossible. On earlier animated shorts, each character was done by a single animator; as a result, the characters had a unity of style.
Below is a list of The Foundry Nukex keyboard shortcuts. With KillerKeys, you can always have the shortcuts you want for practically any application right in front of you. Learn more. These shortcuts are just a sample of the shortcuts available for this application. KillerKeys includes the complete list of shortcuts and is updated automatically with each new release of software. Shift C 3D view, bottom orthographic. Shift X 3D view, left-side orthographic.
Shift Z 3D view, back orthographic. V 3D view, perspective. X 3D view, right-side orthographic. Z 3D view, front-side orthographic. C Toggle between Clone and Reveal tools. The represents a function key number, F1 through F6. Note that this does not work if the focus is on the input pane of the Script Editor. Shift S Open Nuke Preferences dialog. Spacebar Expand the focused panel to the full window.
Spacebar Raise the right-click menu. C Change interpolation of selected control points to Cubic. H Change interpolation of selected control points to Horizontal. K Change interpolation of selected control points to Constant. L Change interpolation of selected control points to Linear. F Fit selection in the window. R Change interpolation of selected control points to Catmull-Rom. Ctrl Shift C Copy selected curves. Z Change interpolation of selected control points to Smooth Bezier. Backspace Erase or Delete Left.
Display script information, such as the node count, channel count, cache usage, and whether the script is in full-res or proxy mode. Save script and increment version number. Cycle through tabs in the current pane.GitHub is home to over 50 million developers working together to host and review code, manage projects, and build software together.
Have a question about this project? Sign up for a free GitHub account to open an issue and contact its maintainers and the community. Already on GitHub? Sign in to your account. Please take a look screenshot: I seems some kind of noise is added to bezier roto, but I think this is case when there should be nicely anti aliased straight edge.
Sure, here you go: To be sure I've made new roto. Fixed by cc. In Natron 3. I did not investigate further but it seems that the rasterisation of coons patch with very sharp angles produces artifacts. Anyway I can't spend more time on this since we don't use it anymore as of Natron 3. Skip to content. Dismiss Join GitHub today GitHub is home to over 50 million developers working together to host and review code, manage projects, and build software together. Sign up. New issue. Jump to bottom.
Copy link Quote reply. Natron V.
You need to set the Feather parameter to at least 1. It is 1. Setting more causes edge too smooth but still noise is visible. Can you show the settings of the Roto node itself and the alpha mask in the viewer directly? Fixed by cc Note that there are still a few minor artifacts that are due to a bug in the cairo library.
MrKepzie closed this Apr 4, FaceTracker is a plugin node for Foundry Nuke created for facial tracking without mocap rigs and markers. The tracking information can be later used for retouching, adding scars, relighting, face replacement, aging and de-aging, etc. For best results we recommend using it with FaceBuilder. FaceTracker is similar to GeoTracker but in addition to model's position it also tracks facial gestures.
Our tracking algorithms are stable contrary to neural networks solutions, precise, allow full manual control and don't require any kind of on-stage preparation like facial motion capture rigs. We want to bring latest achievements of the scientific world to the production pipelines, meaning you have the best algorithms and approaches at hand when you use our tracking plugins. Speaking of the speed, we can't guarantee you the realtime tracking, but we are really close to it, so you wouldn't need to wait long.
You don't need to meddle with sliders and knobs, you just create 'pins' on the face mesh in the Viewer and drag them to the corresponding position. The face model is adapting while you drag the pins. While we try to make everything full automatic requiring as little as possible human work hours, we still focus on precise tracking results, so you can control the process and adjust the results and keyframes to a full degree.
Usually you can just rely on our own tracking algorithms, but just in case, you can improve tracking quality using tracking data from other trackers. For example, you can import tracks of Nuke's built-in Tracker node and FaceTracker will take them into account with highest rating. You can mask out some polygons of the geometry that you want to exclude from tracking. For example some reflective parts of skin or eyeballs. Though usually you don't need to do this, since FaceTracker deals with them pretty well on its own.
Another way to improve tracking in those rare cases when it actually fails is excluding occlusions from tracking. To do it you can connect a roto node to the Mask input of FaceTracker and re- launch tracking. So you can be sure you're working with tools with native-like experience.
It's waiting for you here. They're on the examples page. But you can easily use FaceTracker without FaceBuilder, check the question about a custom model below to find out how. Yes, the workaround is described in the Custom Model question below. You don't need a license for FaceBuilder to export a default model. You can export the default model of FaceBuilder, and then modify the shape keeping vertices count and order.Give Feedback Support Portal. The toolbar on the left side of the Viewer includes point selection and manipulation, and shape creation tools.
Click and hold or right-click on a toolbar button to open a sub-menu to select any of its available tool types.
Options related to the current tool appear in a toolbar along the top of the Viewer. Click on a toolbar item to cycle through the available options for that class of tools. You can drag while clicking to pull out Bezier handles or adjust B-Spline tension. To leave the shape open, press Esc. Background input - adding a background automatically creates another bg input, allowing you to connect up to four images. An optional image to use as a mask.
By default, the roto shapes are limited to the non-black areas of the mask. At first, the mask input appears as a triangle on the right side of the node, but when you drag it, it turns into an arrow labeled mask. If you cannot see the mask input, ensure that the mask control is disabled or set to none. The roto shapes are rendered into these output channels. The output channels are the same for all shapes created using this node - you cannot create a subset of shapes and output them to a different channel.
If you set this to something other than all or noneyou can use the checkboxes on the right to select individual channels. Premultiply multiplies the chosen input channels with a mask representing the roto shapes.
For example, where there are no roto shapes the matte is black or emptythe input channels are set to black. Where the roto shapes are opaque the matte is white or fullthe input channels keep their full value. When enabled, existing channels are cleared to black before drawing into them.
This is used if Roto has no input connected. It is the format which the node should output in the absence of any available input format. If an input is connected, this control has no effect.
If the format does not yet exist, you can select new to create a new format from scratch. The default setting, root. Enables the associated mask channel to the right.When to use each of them, pros and cons. We explain the Camera Tracker technology to understand where it can be used for better results.
We also demystify the principle of Parallax and explore all methodologies available to un-distort and redistort using the Lens Distortion node and how to export a Lens Distortion Displacement Map. Class 2 Testing the scene with cones. Camera tracking II : from from still images.
The 3D way. Geometry generation: placing cards, generating a dense point cloud, poisson mesh. Class 3 Applying painting and reconstructing the image using the temporal offset reveal. We continue working with the footage from The Last Chick in order to finish the removal of the crowds in a big avenue in Mexico city.
We talk about the components of the camera projection setup, how to test the camera using the point cloud and basic geometry conesgenerate assets from the feature points in the CameraTracker node axisPython scripting to perform several value changes in knobs with two fast and simple lines of command, script optimizations, overscan, ScanlineRender setup, lens distortion and the 3d workflow. Class 5: Camera Projection Fundamentals II We start generating and projecting patches to clean features on flat surfaces of the original plate.
We talk about generating projections using the data from the CameraTracker node, we explore the Project3D node and the differences with the UVProject node, how to create all assets necessary for the 3D projection setup: the projector, discussing 3 different methodologies to create a camera projector, including managing customised user knobs and scripting standards to easily recognise a projector; the patch projection including a step of clone-painting; and the generation and alignment of projectable geometry.
Class 6: Camera Projection Fundamentals I We continue and finish generating and projecting patches to clean features on flat surfaces of the original plate using the mail box case study. We talk about generating projections using a standalone camera from a 3rd party software, triangulating single points in the 2D coordinates to locate its 3D position, using cones to manually align primitives as projection surfaces, how to generate a point cloud to either referencing the space and volumes or generate projectable geometry baking points into meshes and using the poisson mesh, automatic alignment snapping of geometries, how to use the ModelBuilder node to generate volumes and align surfaces, and the orthogonal painting method to remove perspective issues from the painting workflow.
Class 7: Object Tracking - Facial Marker Removal We capture the movement and the volume of a man's head in order to perform a marker removal and digital makeup. We talk about the differences between camera tracking and object tracking, tracking features occluded in certain frame ranges, 3D tracking using just User Tracks, import Tracker node tracking points into the CameraTracker node as User Features, absolute vs relative keyframes paste, live vs baked projections, live painting, procedural masking, procedural generation of projectable geometry and the UV problem, rebuilding projectable volumes with cards, UV unwrap for marker removal from cards, live projection for marker removal using RotoPaint and Roto nodes clone utility, digital makeup, the mask channel, strokes matte, custom difference matte.
Class 8 Python customizations to auto-generate projection setups; the issue of Vignetting - We prepare a basic Python script to generate a camera projection setup, including the generation of the nodes, the customization of them and the connection of the inputs, we learn basic Python applied to Nuke as get values from knobs or set them, print values, get the current frame into a FrameHold node and other functions to increase the speed and efficiency of projection and patching task.
In the last part of the lesson we study how to add the vignette effect to a patch in order to reproduce the actual vignette index of the plate.
Class 9: Coverage and Environmental Maps We convert the area of visibility of the camera into a 2D Lat Long Map to project a custom made sky replacement, so we discuss the relative X and Y coordinates of a spherical transformation as latitude and longitude coordinate system in relation to the frustum of the camera, the SphericalTransform node, the cubical camera setup to capture the 3D word into a 2D image, how to merge a sequence of frames to get the maximum coverage area, the minimum resolution estimation for a digital matte painting applied as an environmental map, map bleeding and re-wrap.
We learn how to install the Bridge to send information from Nuke to Mari and viceversa, to customise it using Python scripts, depending on the version of the software and the OS we are using; we talk about projection components and the difference between sending and exporting, single and sequenced projections, using LUTs from Nuke in Mari; a quick start minimum fundamentals about painting in Mari, using layers and channels, image navigation, brushes and common tools such as the cloning and the basic brush, the mask stack to apply alpha masking to layers.
We define the Paint Buffer and the logic of projection painting and baking ; and once we have our texture painted we send it back to Nuke in different ways: projections and UVs. We also have a quick look at the 3D rotoscoping. Copy link. Copy Copied.