Match Moving and Compositing Pipeline in Maya and NUKE
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.
What you'll learn
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. We'll begin the tutorial 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 NUKE to do some color treatment on our backgrounds and then composite our layers together. Software required: Maya 2011, NUKE 6.0.
Table of contents
- Examining the Shots and the Footage 4m
- Creating a Plan to Keep Our Shots Consistent for Maya 8m
- Manually Tracking Shot Two 11m
- Manually Tracking Shot Three 6m
- Manually Tracking Shot Four 8m
- Creating the Coordinate System for Shot Four 3m
- Manually Tracking Shot Five 8m
- Integrating Our Various Matchmoves into One Scene 8m
- Continuing to Integrate Our Shots Together in Maya 6m
- Creating Low-quality Previews in Composite for Use in Maya 7m
- Offsetting Our Cameras and Image Planes to Play Correctly 6m
- Hand-matching a Camera Inside Maya 10m
- Matching the Table Orientation on Shot 1 Cam 11m
- Constraining a Preview Camera to Move with Our Shots 8m
- Testing Our Matchmove Inside Maya and Fixing Any Issues 10m
- Modeling the Pyramid Asset 9m
- Extruding and Beveling Our Pyramid 8m
- Modeling the Interior of the Pyramid 8m
- Animating the First Shot - Pyramid Sliding Across the Table 12m
- Animating the Second Shot - Pyramid Opens 11m
- Creating Emitters for Our nParticles 8m
- Animating the Emitters in Sync with the Doors Opening 5m
- Adding Newton and Drag Forces to Draw Our Particles into the Air 8m
- Keeping Our nParticles in the Pyramid and Creating a Vortex 7m
- Creating the Goal Models for Our Particles 8m
- Animating the Goals on and Off to Create the Transitions 10m
- Using a Gravity Force to Create Falling Particles 8m
- Caching Our Particles and Instancing Geometry 9m
- Bringing in Our HDR Image for Indirect Lighting 7m
- Adding Direct Lighting Sources 6m
- Creating a Material for Our Pyramid 11m
- Using Projection Techniques to Vary Particle Color by Distance 10m
- Animating the Particle Projection to Stay with Our Particles 8m
- Animating the Particle Ramp and Beginning Our Table Shader 5m
- Creating a Clean Plate and Reflection Map for Shot 1 8m
- Projecting Our Reflection Map Onto Our Geometry 8m
- Setting up Basic Render Passes and Layers 4m
- Changing Our Ambient Occlusion Pass for the Best Results 7m
- Choosing the File Type and Frame Buffer for Compositing 6m
- Rendering with Multiple Cameras and Fixing the Preview Cam 6m
- Overriding Render Layers to Render Each Camera Separately 7m
- Creating a Layer to Output a Particle Matte Pass 4m
- Creating the Reflection Height Shader and Pass 10m
- Doing Final Checks on Render Settings and Batch Rendering 6m
- Dealing with Mental Ray 'Out of Memory' Errors 3m
- Color Correcting Our Shots for Consistency in NUKE 10m
- Using a Colorlookup and Colorcorrect to Push Our Footage 8m
- Fixing Shot 3 with Color Correction and Keyer Nodes 11m
- Reusing Color Correction Nodes to Save Time on Shot 4 7m
- Using a Luma Keyer to Darken Our Scene in Shot 5 9m
- Tracking the Table and Combining Keys to Finish Shot 5 11m
- Breaking Apart Our Exr into Passes and Setting the Colorspace 7m
- Combining Our Basic Color Passes and Specularity 8m
- Combining Passes to Create a Proper Foreground Alpha 6m
- Using Our Clean Plate to Fix Shot 1 8m
- Adding DOF and Dilating Our Pass to Fix Edge Issues 10m
- Adding Motion Blur Using Our Motion Vector Pass 9m
- Lightwrapping and Blurring to Composite with Background 6m
- Adding the Reflection to Our Background 13m
- Tweaking the Reflection and Adding AO to the Background 7m
- Using Keying Techniques to Fix Depth in Shot 2 11m
- Creating an Expansive Ground Shadow Using Existing Images 12m
- Blurring Our Depth and Motion Vectors for a Soft Look 6m
- Painting out the Visible Markers Using Rotopaint 6m
- Using the Particle Matte to Color Correct Our Particles 4m
- Converting Shot 2 to Shot 3 and Editing the Read Nodes and Blurs 8m
- Adding Larger Ground Ambient Occlusion 9m
- Rotopainting Markers out of the Background 5m
- Converting Shot 3 to Shot 4 and Making Color Tweaks 5m
- Using Rotopaint to Fix Background Errors 11m
- Converting Shot 4 to Shot 5 and Fixing Alpha Issues 7m
- Animating the Particle Color Correction During the Fall 9m
- Rotopainting Markers and Viewing the Final Shots 4m
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