Match Moving and Compositing Pipeline in Maya and Composite
Pluralsight
Course Summary
In this series of lessons, we'll learn how to take some footage and move it through the entire MatchMover to Maya to the Composite pipeline to create a finished shot. Software required: Maya 2011, Composite 2011.
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Course Description
In this series of lessons, we'll learn how to take some footage and move it through the entire MatchMover to Maya to the Composite pipeline to create a finished shot. By going through the entire pipeline, we will be able to learn about specific issues and tips and tricks while moving between and inside each application. We'll begin this project by solving four of our shots in MatchMover and combining them in Maya into a cohesive 3D scene. Then we'll create our last camera in Maya and match it. Once all our cameras are set up, we'll learn how to model our object, create dynamics, animate, texture, and render our scene. We'll then jump into Composite to do some color treatment on our backgrounds and then composite our layers together. Now, this is a long project that will take some time to complete. If you get stuck or have any questions, please join our forums and ask. We check the forums often and have a very active and helpful community. Software required: Maya 2011, Composite 2011.
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Course Syllabus
Introduction and Project Overview- 1m 26s
—Introduction and Project Overview 1m 26sMatch Moving and Compositing Pipeline in Maya and Composite- 9h 30m
—Examining the Shots and the Footage 4m 25s
—Creating a Plan to Keep Our Shots Consistent for Maya 7m 33s
—Manually Tracking Shot Two 11m 10s
—Manually Tracking Shot Three 5m 39s
—Manually Tracking Shot Four 8m 23s
—Creating the Coordinate System for Shot Four 3m 11s
—Manually Tracking Shot Five 8m 3s
—Integrating Our Various Match Moves into One Scene 8m 14s
—Continuing to Integrate Our Shots Together in Maya 6m 28s
—Creating Low-quality Previews in Composite for Use in Maya 7m 19s
—Offsetting Our Cameras and Image Planes to Play Correctly 6m 22s
—Hand-matching a Camera Inside Maya 9m 54s
—Matching the Table Orientation on Shot One's Camera 10m 37s
—Constraining a Preview Camera to Move with Our Shots 7m 51s
—Testing Our Match Move Inside Maya and Fixing Any Issues 10m 20s
—Modeling the Pyramid Asset 8m 35s
—Extruding and Beveling Our Pyramid 8m 5s
—Modeling the Interior of the Pyramid 8m 26s
—Animating the Pyramid Sliding Across the Table 12m 17s
—Animating the Pyramid Opening 11m 21s
—Creating Emitters for Our nParticles 7m 33s
—Animating the Emitters in Sync with the Doors Opening 4m 47s
—Adding Newton and Drag Forces to Draw Our Particles into the Air 7m 30s
—Keeping Our nParticles in the Pyramid and Creating a Vortex 6m 51s
—Creating the Goal Models for Our Particles 7m 45s
—Animating the Goals On and Off to Create the Transitions 10m 1s
—Using a Gravity Force to Create Falling Particles 7m 57s
—Caching Our Particles and Instancing Geometry 8m 39s
—Bringing in Our HDR Image for Indirect Lighting 7m 6s
—Adding Direct Lighting Sources 5m 42s
—Creating a Material for Our Pyramid 11m 5s
—Using Projection Techniques to Vary Particle Color by Distance 9m 35s
—Animating the Particle Projection to Stay with Our Particles 8m 3s
—Animating the Particle Ramp and Beginning Our Table Shader 5m 5s
—Creating a Clean Plate and Reflection Map for Shot One 7m 37s
—Projecting Our Reflection Map Onto Our Geometry 8m 22s
—Setting up Basic Render Passes and Layers 3m 54s
—Changing Our Ambient Occlusion Pass for the Best Results 7m 27s
—Choosing the File Type and Frame Buffer for Compositing 6m 3s
—Rendering with Multiple Cameras and Fixing the Preview Cam 6m 5s
—Overriding Render Layers to Render Each Camera Separately 7m 26s
—Creating a Layer to Output a Particle Matte Pass 4m 20s
—Creating the Reflection Height Shader and Pass 9m 38s
—Doing Final Checks on Render Settings and Batch Rendering 5m 43s
—Dealing with Mental Ray out of Memory Errors 3m 22s
—Color Correcting Our Shots for Consistency in Composite 7m 21s
—Using a Cc_basics Tool to Push Our Footage 4m 42s
—Fixing Shot Three with Color Correction and Keyer Nodes 10m 14s
—Reusing Color Correction Tools to Save Time on Shot Four 5m 56s
—Tracking the Table and Combining Keys to Start Shot Five 8m 43s
—Using a Luma Keyer to Darken Our Scene in Shot Five 9m 26s
—Breaking Apart Our EXR into Passes and Setting up Preferences 11m 8s
—Combining Our Basic Color Passes and Specularity 7m 53s
—Combining Passes to Create a Proper Foreground Alpha 8m 0s
—Using Our Clean Plate to Fix Shot One 4m 2s
—Adding DOF and Dilating Our Pass to Fix Edge Issues 7m 47s
—Adding Motion Blur Using Our Motion Vector Pass 5m 31s
—Lightwraping and Blurring to Composite with Background 8m 31s
—Adding the Reflection to Our Background 11m 41s
—Cutting out the Reflection and Combining It Correctly 14m 11s
—Adding AO to the Background and Adding a Cutout 9m 7s
—Converting Shot One to Shot Two 5m 47s
—Using Keying Techniques to Fix Depth in Shot Two 7m 6s
—Creating an Expansive Ground Shadow Using Existing Images 7m 2s
—Blurring Our Depth and Motion Vectors for a Soft Look 5m 39s
—Painting out the Visible Markers Using Our Own Setup 9m 27s
—Using the Particle Matte to Color Correct Our Particles 6m 21s
—Converting Shot Two to Shot Three Editing the Read Nodes and Blurs 6m 23s
—Cleaning the Background with Garbage Masks and Vector Paint 8m 33s
—Converting Shot Three to Shot Four and Making Color Tweaks 5m 8s
—Using Masks and Blurs to Fix Background Errors like Markers 7m 24s
—Converting Shot Four to Shot Five and Fixing Alpha Issues 7m 18s
—Animating the Particle Color and Offsetting the Trackers 5m 58s
—Fixing the Reflections and Examining Our Final Shots 11m 27s
