Compositing 3D into Video in Maya and NUKE
Pluralsight
Course Summary
In this series of lessons, we'll learn how to take the output from a motion tracker app and import a 3D model and light, render, and composite it into our original footage in NUKE. Software required: Maya 2010 and NUKE 6.0 and up for project files.
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Course Description
In this series of lessons, we'll learn how to take the output from a motion tracker app and import a 3D model and light, render, and composite it into our original footage in NUKE. We'll begin this project by setting up our motion tracked scene by adding the original footage and aligning everything to make working easier. We'll then bring in our 3d object and learn how to place it in our scene. We'll then learn how to create ground geometry and create lighting that matches our original shot. We'll then create multiple render passes and layers to make compositing much easier. After we render, we'll jump into NUKE and learn about such topics as shadow matching, color matte usage and various techniques to match our 3d render with our live action back-plate. We'll finish with a global color correct and add realistic motion blur to finish our shot. Software required: Maya 2010 and NUKE 6.0 and up for project files.
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Course Syllabus
Introduction and Project Overview- 1m 13s
—Introduction and Project Overview 1m 13sCompositing 3D into Video in Maya and NUKE- 2h 43m
—Setting Our Image Plane to Test Our Tracked Point Cloud 5m 8s
—Locking Our Camera and Locators to the Grid 4m 42s
—Importing Our Object and Integrating It into the Scene 5m 7s
—Creating Ground Plane Geometry to Catch Shadows 7m 2s
—Bringing in Our HDR Environment and Matching Lighting 10m 24s
—Extending Our Ground Plane and Adding a Curb 7m 53s
—Setting up Our Basic Color Layer and Passes 7m 1s
—Creating a Ground and Object Ambient Occlusion Layer 8m 35s
—Building Our Two Shadow Render Layers for Control 6m 36s
—Creating a Color Matte Layer to Capture Different Pieces 6m 30s
—Creating a Motion Vector Layer and Outputting It Correctly 3m 45s
—Making Final Changes to Our Render Settings and Rendering 10m 13s
—Shuffling All Our Rendered Images into Channels 9m 26s
—Rendering an Exr Sequence for Faster Compositing 4m 15s
—Importing Our Footage and Create a Dual Tree Workflow 5m 42s
—Matching Our Footage Shadows Using Our Shadow Mattes 10m 2s
—Applying Ambient Occlusion with Color Correction Techniques 5m 50s
—Compositing Our Sign Color Passes 4m 2s
—Using the Color Matte Pass to Tweak the Sign 3m 42s
—Hue Shifting the Legs into the Correct Color Space 3m 58s
—Color Correcting the Rusty Base 3m 45s
—Fixing the Sandbags by Adding Noise and Heavy Color Correcting 8m 43s
—Adding Lightwrap to Our Object 5m 41s
—Using Our Motion Vectors to Add Motion Blur 4m 50s
—Creating a Motion Vector Mask for the Background 4m 49s
—Creating a Film Look and Rendering Our Final Sequence 5m 36s
