Hey folks,

I've got a few shots for a project that require some "fake reflections" to hide some camera crew in the window reflection.

Annoyingly it requires us to reproduce a window bevel effect like this. We have a setup, using a mask, converting to a vector, then outputting an STMap. This works somewhat well for defocused shots, as these don't require too much intracate detail. But when it comes to really in focus shots, it doesn't really work. Especially where the hard edges of the window bevels are.

Does anyone have any ideas of a setup that could mimic this effect?

Been wondering about getting away from Windows for a long time and going for a maxed-out M5 Ultra. My main tool is Nuke, but I use Blender and Resolve a lot as well. I wanted to see if anyone has a real-world comparison of this machine coming from a PC.
I already have a nice specced PC (Ryzen 9950, RTX5090, 192GB RAM, etc.) and I know it will be some kind of a render hit, but the amount of "VRAM" that the Mac offers to open up huge scenes is very alluring.

As a bonus question, how stable is Nuke on Mac now? I remember a lot of talk in the early stages that it crashed even more than the Windows version, which for me is about 5 times a day 💀

I made a little script with the help of ai that I was missing for years.
It is super simple but I need it all the time. I though I might not be the only one that needs to change readnodes when i load them into my comp.

I almost always need to change the colorspace and I want everything to start at 1001 for example.
Or the sequence is still rendering and I want to load it already. Now I select the read nodes that I want to change and press Alt+R and can do this in one go.

Because it works for me, it does not mean it works for you. But if you want I invite you to try it for yourself and give me feedback. That is very welcome.

Thank you:)

Batch Change Read Nodes — Nukepedia

mi sci

I am wondering what is the rule of thumb when color matching in nuke. I was working on a simple city sky replacement scene and the tutorial I watched said to (in the grade node) choose the black/white points from the cityscape and the lift/gain from the new sky i was trying to match it to. Is this the way its always supposed to be? is it the other way around? I feel like i saw a tutorial shortly before that chose the blackpoint+lift from one and the whitepoint+gain from the other so i'm kinda lost with how the process is supposed to be. Any help would be great, thanks

I'm using the roto node for this. Basically I want to remove that part of the arm so it does not appear above the dude. I may be stupid but I cannot find a tutorial related to what I'm doing because I don't think I am searching it appropriately.

It is a single frame.

I had to work on 25 of these shots in about 4 days with the artists hair being the worst problem. How can i improve? Nuke and blender. And begrudgingly some after effects.

Im trying to create a mesh using a point cloud and my point cloud keeps having all rejected points. I tried lowering the angle threshold and it was a bit better but then nuke wouldnt let me select the points using vertex selection. I also tried lowering the track threshold but it still isnt working ;-; any help is greatly appreciated ;3

Hi, I'm using NukeX 17.0v1 on win, the problem cames in when I view the scanlinerender it's completely broken. The set-up cames from Blender and it's 2 meshes merged and remeshed with geometry nodes, one has an armature and deforms. I'ts Imported as a .usd i've tried also with .abc but I couldn't project the texture.

As you can see from the images the projection works when I am in the 3d view but glitches in the scanlinerender, please help, I am availabe for more in detail description if needed.

Hi everyone, I’m the developer of SAM Roto for Nuke. I’ve released v1.0.0 on Nukepedia and would like to get feedback from other Nuke users.

It uses SAM 2 / SAM 2.1 for point-guided masking.SAM 3 / 3.1 is also available as an experimental option on Linux through the installer’s Advanced setup, with approved Hugging Face model access. It is not available on Windows in v1.0.0. You can select multiple objects, track their masks through a sequence, add correction points, and update the track. There’s also optional ViTMatte edge refinement and alpha output for compositing.

It targets Windows and Linux x86_64 with an NVIDIA CUDA GPU. The setup guide lists the Nuke compatibility targets and installation requirements.

Tool and setup guide:
https://www.nukepedia.com/tools/python/misc/sam-roto-for-nuke/

If you try it, I’d be interested to hear how the selection and correction workflow fits into your comp process, and where it becomes awkward. Bug reports and practical feedback are welcome.

Hi everyone! As the title says, I'm looking for feedback on my reel from experienced compositors.

The shots with color overlays are from a Netflix show I worked on during an internship (I couldn't get the original plates), while the rest are personal projects.

I also have a new shot [LINK] from a short film I'm currently working on, but I'm not sure where it fits best. Should I remove the weaker shots from the show to make room for it, or would it be better to split my work into two separate reels (one for personal projects and one for show work)?

I would also love to get feedback on the overall shot order of my current reel. Thanks in advance!

Hi Guys,

I have a problem and would like help.

I got a shot that we had to apply a time warp throughout the online process.

The problem is we matchmoved this shot with no time warp, and we object-tracked a car throughout the take. So I have a camera and a cached Alembic match with the no-TW plate.

I know how to apply the same time warp to the camera. I usually use the expression [curve(Kronos1.timingFrame2) but I dont know how to timewarp a cached Alembic.

I was simply linking the result of my Kronos to the ReadGeo Lock frame parameter, but it is not syncing. Am I missing something here?

Thank you,

The Weird Byte has expanded VirtuCamera 2 with its full Pro lineup, following the end-of-April release of VirtuCamera Standard.

VirtuCamera 2 is a real-time virtual camera platform that lets artists use a mobile device like a physical camera, stream the viewport live in the app, and record camera motion directly into supported DCC applications.

Current support listed on the site includes Blender 5.2 LTS, 5.1, 5.0, and 4.5 LTS, Maya 2027 and 2026, Houdini 22 and 21, Cinema 4D 2026, 3ds Max 2027 and 2026, and Nuke 17 and 16.

The Pro rollout adds deeper camera controls, slider presets, custom Python scripts, custom DCC attributes, joystick and PTZ control, dolly zoom tools, and broader studio-oriented licensing and integration options.

X post: https://x.com/virtucamera/status/2100280249359413295

More info:

https://virtucamera.com

This project involved camera tracking, kitbashing, asset and material modifications, 3D rendering, multilayer EXR passes, and final compositing in Nuke.

The entire VFX workflow was handled by me, from the 3D work and asset preparation to the final compositing.

I posted a similar project before, and many of you gave me some really helpful advice. So I decided to create a new version, this time focusing on fixing some of the issues from the previous project.

I hope you like the result! And if you have any constructive feedback, especially regarding the compositing, I’d really appreciate it. I’m always looking to improve. 🙏

Hey everyone,

I'm working in Nuke 17 with a layered PSD file and running into an issue with the alpha channel and layer blending.

Here is my current setup and workflow:

• The Read node for the PSD is set to data-raw (Raw checked).
• Because I need granular grading/control per layer, I broke out the PSD into individual Shuffle nodes.
• To match the original Photoshop look, I need to convert each layer using an OCIOColorSpace node (input: sRGB texture / compositing space $\rightarrow$ working space: ACEScg).
• The OCIOColorSpace node is set to channels: rgb and (un)premult by: none.
• Some layers need to be composited using PSDMerge (operation: multiply) to match the client's original Photoshop layout.

The Problem:

1. Even with channels: rgb and (un)premult by: none, inserting the OCIOColorSpace node per-layer causes semi-transparent edge values (0 to 1) in the alpha to look washed out or distorted compared to the original PSD mask.
2. I know Photoshop's Multiply math is calculated in non-linear sRGB space ($A \times B$), whereas multiplying after linearizing into ACEScg crushes or shifts the midtones completely.
3. However, if I apply color transformation only at the very end of the tree, I can't grade or adjust the individual layers properly prior to blending.

What is the standard pipeline/node structure to:

• Keep the exact original raw alpha intact (preventing any unwanted gamma curves or edge fringing/erosion),
• Perform per-layer adjustments,
• And still get an exact 1:1 Photoshop Multiply result inside Nuke?

Would really appreciate any tips or tree screenshots from folks who handle DMP/matte multi-layer PSD handoffs regularly!