r/NukeVFX

My situation is this… I have ProRes 4444 6k plates. DJI D-Log is baked into them from Resolve (I did not transcode these plates). Metadata does not reflect colorspace. Clearly, I need the plates 1:1 in and back out. I can work with them washed out at this point. How I am viewing it in the workspace isn’t even my issue right now. I just need to set this up to pull them in properly and get them back out properly. In the same colorspace 1:1 at ProRes again. Any and all advice is helpful. I am just getting back into my Nuke game after a few years.

Nuke Indie Mac Mini M4

I've only just begun experimenting with Ollama to run models locally and started wondering if it's worth setting up a RAG pipeline, basically chunking the Nuke documentation into a vector database (ChromaDB or similar) so the model can retrieve relevant context before answering Python/expression questions.

The idea being: instead of the model hallucinating NukeX API methods, it's actually grounding its answers in the real docs.

Has anyone gone down this road? A few things I'm genuinely curious about:

• What model are you running locally and is it actually good enough for this kind of technical Python work?
• ChromaDB seems like the obvious lightweight choice but open to other opinions
• Is the retrieval quality good enough to be worth the setup overhead, or do you just get better mileage prompting a frontier model directly?

I know most of us aren't pipeline TDs so maybe this is overkill, but curious if anyone's actually put time into it?

https://preview.redd.it/3rkyzthg5c2h1.png?width=1512&format=png&auto=webp&s=ce826910e86027f58fce8b3a958db9612666131d

I NEED TO EDIT THESE PASSES BUT I CANT FIGURE OUT WHAT ORDER TO PUT THE NODES IN. EVERYTIME I TRY EITHER THE COLOUR CHANGES EVEN THOUGH I HAVE NO EDITED THE PASSES OR THE COLOUR WILL NOT CHANGES WHEN EDITING THE GRAD OR GLOW FOR EXAMPLE

So basically I have some footage coming from an external application (Postshot) and the app did it's own undistortion before processing the frames and of course now they don't fit the original plate.

Postshot does show some distortion parameters, but putting those into a Lens Distortion node does not match the original plate.

Now I know that I should have undistorted the frames before sending them out to Postshot, but... is there a way "solve back" the distortion if I only have the before and after frames?

I'm considering getting a MacBook for home and travel. 16" or 14"? At home I'll have an external monitor. I'm just curious about how much of the UI can fit on a 14" compared to a 16", especially if using the scaled settings for the display. The 14" will be much lighter for commutes, Ideally that's what I want, but if it's going to be overly cramped, I'll put up with the 16". Anyone have any experience with both?

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Hey everyone,

I'm trying to figure out the workflow to get custom primvars from Houdini USD into Nuke. I've seen that st, normals, Cd, and some other predefined attributes come through fine, but is there a way to get custom attributes/primvars as well?

Thanks for your help!

In nuke Studio, how can I match up a comp layer I've already created for a clip in one timeline to a different timeline with the same source clip but with different in and out points more easily?

So let's say I get 3 edits -

1x60s

1x30s

1x20s

I've conformed the 60s edit and created nuke scripts for all the vfx shots. Now I want to move on to the 30+20s timelines that reuse most of the vfx shots but with different in and out points/frame ranges. I don't want to make duplicate nuke comps of course for these shots so I have get the vfx shots layers over from the 60s timeline and make sure they match timing wise.

I could of course bruteforce this and manually copy/paste every comp layer from the 60s and then match them up and extend for missing frames in either the heads or tails. But does anyone have any python code/tool they use that makes this process easier? Like right clicking a source clip in one of the cutdowns and retrieving that vfx shot using the same name from a different timeline in the project and align it timing wise to quickly see if there are frames missing.

I'm not very python savy which most definitely the reason I haven't figured this out on my own. I work solo at home and would make life so much easier for projects with tons of timeline edits.

Hi, how are you guys getting Rec709 plates through ACES (ACEScg working space for CG element composite) without any gamma shift happening on export?

In the past I swear I have always just set the input transform to Output - Rec709 and then again on the write node set the output transform to Output - Rec709, and the render has perfectly matched the plate.

Now however, in Nuke 16 / ACES 1.2 when I do the same it results in the export looking washed out compared to the original plate. Testing 1.3 as well I can’t seem to get the output to match the plate perfectly.

How do you guys deal with Rec709 plates correctly?

Hi i am new to 3d camera tracking world. have spent days trying to understand the technical concepts of camera like focal length, aperture, lens size, optical center etc. so there is a pan shot i shot wih locked focus and locked exposure in 4k 30 fps. then i tried using after effects camera traking, blender camera tracking, using COLMAP photogramettery point cloud AND the animated camera path. each one of them have problems.

at first ae tracker is does track te fooage but with no depth so the solve error remains pto 4 px. pretty ok still camera in ae jitters, lags, slides.

blender tracker is trash loke absolute crap.

then i tried COLMAP photogrammetry sokution. problem is that instead of rotating the camer from the pivot point, it aimated the camers to follow a huge path which has got many orientation problems like coordination scaling issue. because when i place 3d object into the scene, the 3d object slides and PANS more then the real life camera. and because of lack of depth, the colmap actully created a panoramic 2.5 D point cloud instead of properly constructing a whole photogammetry 3d scene. so essentially alignments are imperfect in colmap.

so i need a perfect workflow. i even tried to scale down the point cloud to match the coordinate system perfectly. actually i used real life measurements like the distance form camera to the green belt, road width, distance from gorund to camera. but still the 3d objects seem to be sliding and panning more than the camera even tho the points form the point cloud is exactly sticked to their respective positions throughout the entore scene. can you pelase suggest any better workflow? should i use Nuke 3d camera tracker? i basically need to attach teh car 3d model (park) on the green belt)

Hello,

I have a shot where there's a 3 dimensional object and have geo for it to hold out the layers of dust and debris. The problem is the geo isn't perfectly accurate to what is in the plate. But I have 2d roto that perfect.

The problem: using deep hold out how can I use 2d roto to basically reproject and properly hold out the different depths? I know I can do this with like a 2d car if it's a simple holdout, but how can I do it if it's a holdout that has 3 dimentions?

The issue: idk how to project that 2d roto on 3d geometry, and even if I did that, the 3d geometry isn't accurate like mentioned before so it would cut off my roto in areas,bits like the 3d geometry would need to be eroded in 3d space to account for that lol but idk if that kind of thing is even possible.

Thanks for any help!