r/NukeVFX

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)

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.

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!

I’m currently testing the Samsung Odyssey 3D monitor for stereo work in Nuke, but I’m facing a few issues:

• Stereo depth breaks while zooming in/out in Viewer
• Alignment feels inconsistent during compositing
• Hard to judge accurate depth for roto and paint

For gaming and media it looks impressive, but for professional stereo compositing I’m not sure if it’s reliable enough.

Has anyone successfully used a glasses-free monitor in a real stereo pipeline with plugin?
Or is passive 3D still the better option for Nuke work?

Would love to hear your experience and monitor recommendations.

I'm trying to set up a relighting pipeline entirely inside Nuke on Mac for live-action footage — no 3D passes, just regular filmed material.

The main thing I'm trying to figure out is how to generate a usable normal map from footage so I can do proper relighting without any 3D render data. I've been looking into ML-based solutions (like DSINE) but I'm curious what people are actually using in production.

A few specific questions:

1. What do you use to generate normal maps from live footage in Nuke? (ML nodes, gizmos, external tools that pipe back in?)
2. What's your actual relighting setup inside Nuke? Spherical harmonics? Light direction Grade nodes? Something more sophisticated?
3. Is there a solid Cattery plugin or gizmo that handles this well on Mac (no CUDA GPU)?
4. Do people bother doing this fully inside Nuke or do you always export to another app? I want to stay in Nuke if possible and avoid After Effects or Resolve for this step.
5. Any tips on deflickering the normal map output when working on moving footage?

For context: working on a Mac (Apple Silicon), NukeX 16.0v4, footage is standard live-action with no depth or normal passes from a 3D package.

Would love to hear real-world workflows, not just the theory. Thanks!

I did use these type of tools before at some place, but can't exactly remember what they were called, some smart gizmos that would take a rough alpha input, such as a slightly noisy key and give you back a filtered, sharp smooth edge.

Any suggestions ? I've been searching through google / nukepedia but can't seem to find the right tool.