Vishal Dharsha J

 Hey guys,  I am here with another post regarding Screen compositing in a green or blue screen footages.           As everyone knows blue screen/green screen is specifically and mostly used for keying or matte extracting or whatever you may call. Offcourse we would go through keying in different post, but here we are just going to see my way of comping monitor or mobile screens when you are given with a green/blue screen plate. The catch here is we are going to do  this without keying. Lets first analyse the nature of green and blue screen. The main thing what green screen does is isolate an element of the input apart from other things, so that we can comp it with other BG elements or other stuff. But we are going to use some other things from the green screen so that we maximize the laws of physics. For now we are going to seperate the screen comping process into layers. 1) Compositing 2) Bringing back the reflections 3) Interacting with surrounding elements. So These are the basic st

 Hi guys, Currently working on some blood works in a regional project obviously cant name it yet.  The task is to mainly bring the gun flash, bullet wound, Blood splash, and stuff. Since I ve researched it for a long time, I ve got a bright viewpoint of how to add Blood in a shot realistically of hollywood quality. As you know, I am a compositor and I use nuke for composting. So, We can divide this into seperate elements... 1) Muzzle Flash 2) Blood Splash 3) Bullet Wound 4) Splash on Face and body 5) Impact on background 6) At last, minute details of wound. So as of muzzle flash, What we are going to do is basically add a Light to the input 2 or 3 frames based on the supervisor or director. As of here my supervisor directed me to add for 3 frames. For here, Lets just take this for an example to add lighting, Most of them what they do is basically just add the constant and blend it using the blend modes in merge node. But to get the realistic thing what we do is, just use a grade node a