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Match Moving and Compositing Pipeline in Maya and NUKE

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 NUKE pipeline to create a finished shot. Software required: Maya 2011, NUKE 6.0.

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    Course Syllabus

    Introduction and Project Overview
    - 1m 23s

    —Introduction and Project Overview 1m 23s
    Match Moving and Compositing Pipeline in Maya and NUKE
    - 9h 28m

    —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 Matchmoves 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 1 Cam 10m 37s
    —Constraining a Preview Camera to Move with Our Shots 7m 51s
    —Testing Our Matchmove 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 First Shot - Pyramid Sliding Across the Table 12m 17s
    —Animating the Second Shot - Pyramid Opens 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 1 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 NUKE 10m 19s
    —Using a Colorlookup and Colorcorrect to Push Our Footage 8m 14s
    —Fixing Shot 3 with Color Correction and Keyer Nodes 10m 57s
    —Reusing Color Correction Nodes to Save Time on Shot 4 7m 27s
    —Using a Luma Keyer to Darken Our Scene in Shot 5 8m 43s
    —Tracking the Table and Combining Keys to Finish Shot 5 10m 45s
    —Breaking Apart Our Exr into Passes and Setting the Colorspace 6m 53s
    —Combining Our Basic Color Passes and Specularity 7m 32s
    —Combining Passes to Create a Proper Foreground Alpha 5m 39s
    —Using Our Clean Plate to Fix Shot 1 7m 37s
    —Adding DOF and Dilating Our Pass to Fix Edge Issues 10m 1s
    —Adding Motion Blur Using Our Motion Vector Pass 9m 2s
    —Lightwrapping and Blurring to Composite with Background 6m 14s
    —Adding the Reflection to Our Background 12m 39s
    —Tweaking the Reflection and Adding AO to the Background 7m 23s
    —Using Keying Techniques to Fix Depth in Shot 2 10m 35s
    —Creating an Expansive Ground Shadow Using Existing Images 11m 47s
    —Blurring Our Depth and Motion Vectors for a Soft Look 6m 20s
    —Painting out the Visible Markers Using Rotopaint 6m 1s
    —Using the Particle Matte to Color Correct Our Particles 3m 42s
    —Converting Shot 2 to Shot 3 and Editing the Read Nodes and Blurs 7m 35s
    —Adding Larger Ground Ambient Occlusion 9m 22s
    —Rotopainting Markers out of the Background 4m 35s
    —Converting Shot 3 to Shot 4 and Making Color Tweaks 5m 23s
    —Using Rotopaint to Fix Background Errors 11m 11s
    —Converting Shot 4 to Shot 5 and Fixing Alpha Issues 6m 43s
    —Animating the Particle Color Correction During the Fall 8m 50s
    —Rotopainting Markers and Viewing the Final Shots 4m 19s

Course Fee:
USD 29

Course Type:


Course Status:



1 - 4 hours / week

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