Compositing 3D into Video in Maya and NUKE
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.
What you'll learn
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.
Table of contents
- Setting Our Image Plane to Test Our Tracked Point Cloud 5m
- Locking Our Camera and Locators to the Grid 5m
- Importing Our Object and Integrating It into the Scene 5m
- Creating Ground Plane Geometry to Catch Shadows 7m
- Bringing in Our HDR Environment and Matching Lighting 10m
- Extending Our Ground Plane and Adding a Curb 8m
- Setting up Our Basic Color Layer and Passes 7m
- Creating a Ground and Object Ambient Occlusion Layer 9m
- Building Our Two Shadow Render Layers for Control 7m
- Creating a Color Matte Layer to Capture Different Pieces 7m
- Creating a Motion Vector Layer and Outputting It Correctly 4m
- Making Final Changes to Our Render Settings and Rendering 10m
- Shuffling All Our Rendered Images into Channels 9m
- Rendering an Exr Sequence for Faster Compositing 4m
- Importing Our Footage and Create a Dual Tree Workflow 6m
- Matching Our Footage Shadows Using Our Shadow Mattes 10m
- Applying Ambient Occlusion with Color Correction Techniques 6m
- Compositing Our Sign Color Passes 4m
- Using the Color Matte Pass to Tweak the Sign 4m
- Hue Shifting the Legs into the Correct Color Space 4m
- Color Correcting the Rusty Base 4m
- Fixing the Sandbags by Adding Noise and Heavy Color Correcting 9m
- Adding Lightwrap to Our Object 6m
- Using Our Motion Vectors to Add Motion Blur 5m
- Creating a Motion Vector Mask for the Background 5m
- Creating a Film Look and Rendering Our Final Sequence 6m
About the author
Along with creating and recording training, he also used to manage the support team and work closely with the production development team at Digital-Tutors, now a Pluralsight company. He began his career working freelance and quickly realized that he wanted to find a company where he could use his talents to help people succeed in the CG industry. Chris has likely watched more Pluralsight creative training than anyone on the planet, and its evidenced by his Einstein-sized brain and encyclopedic... more