'Infiltrator' Production Pipeline Volume 7: Compositing in Composite
Pluralsight
Course Summary
In this series of lessons, we'll learn how to use Composite to reassemble our Maya render passes and integrate them with our background plates. Software required: Composite 2011 and up.
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Course Description
In this series of lessons, we'll learn how to use Composite to reassemble our Maya render passes and integrate them with our background plates. Using composite to assemble our final render gives us an incredible amount of creative control over the final look of our shot. We'll begin this project by importing our render passes from Maya. From there, we will do some basic compositing. We'll then begin troubleshooting our shot and using a variety of tools and techniques to integrate our elements. We'll also learn how to fix issues in our background plate using masks, keyers, and other tools. During this shot, we will be animating various elements to tell the director's story. Finally, we'll finish the shot by using warping and filtering tools to create an ending for our 'Infiltrator' shot. Software required: Composite 2011 and up.
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Course Syllabus
Introduction and Project Overview- 1m 8s
—Introduction and Project Overview 1m 8s'Infiltrator' Production Pipeline Volume 7: Compositing in Composite- 4h 28m
—Importing Our Images into Composite 4m 41s
—Using a Display Pass-through to See the Correct Gamma 4m 36s
—Adding Our Shadows and Ambient Occlusion Using a CC Basics Node 6m 4s
—Compositing Our Colors Layers and Gamma Shifting 4m 46s
—Lightwraping Our Foreground Using a Macro Preset 5m 15s
—Darkening Our Background with Our AO and Shadows 7m 22s
—Formatting Our Depth Pass to Work with a Blur Node 8m 50s
—Adding Depth of Field Blur Using the Modulation Tab 11m 23s
—Fixing Blown out Pixels and Using Alpha Tools to Fix Edge Issues 10m 41s
—Adding Motion Blur Using Our 2D Motion Vector Pass 5m 14s
—Using Streams to Effect Multiple Layers with a Single Tool 10m 32s
—Fixing the Background Blur Tool and Input Images for Clean Edges 8m 25s
—Adjusting the Wall AO and Shadow for More Realistic Results 4m 56s
—Beginning to Fix the Wall with a Diamond Keyer 6m 56s
—Compositing the Cut-out Wall Over Black and Blurring the Edge 5m 56s
—Using the Color Curves Tool for Spill Suppression of the Green Hue 7m 53s
—Fixing Small Areas of Our Wall by Modifying Our Key 4m 35s
—Animating the Blending of the Spider for a Darker Start 6m 33s
—Using Our RBGA Matte to Color-correct Parts of the Spider 7m 34s
—Blurring and Graining the Spider Subtly for Increased Realism 9m 17s
—Preview Rendering and Using Intermediate Results for Speed 10m 50s
—Fixing a Wall Issue with an Animated Garbage Matte 8m 3s
—Finishing the Garbage Mask Animation for Our Wall 10m 43s
—Color-correcting Our Foreground to Match the Wall Better 7m 4s
—Adding Chromatic Aberration to Our Composite 8m 22s
—Creating a Lens Flare Using the Lens Blur Tool and Animation 9m 45s
—Adding Other Filters to Finish Our Lens Flare Effect 6m 37s
—Color-correcting and Vignetting Our Composition 9m 30s
—Showing the Spider Break the Camera 10m 5s
—Color-correcting Our Spider to Show It Gathering Energy 6m 7s
—Pinching Our Composition to Begin Transitioning Out 5m 15s
—Using a Lens Blur to Blow out and Blur Our Image 6m 3s
—Using Flares to Add Light Streaks to Our Composition 7m 8s
—Using Halos to Create an Appealing Lighting Effect 11m 3s
—Rendering Our Final Shot 10m 5s
