This course will teach you the basics of the virtual reality filmmaking medium, and it will guide you through the setup of your own VR camera rig in Maya and the new compositing workflows in NUKE. Software required: Nuke 9.0v4, and Maya 2016.
You might have heard of a new little thing called virtual reality (VR). If you have, and you're curious about VR, then this course, 360 VR Compositing in NUKE, is the perfect course for you because it will introduce you to this new filmmaking medium. First, you'll explore the foundations of a VR workflow and how it's different from a standard stereoscopic project. Next, you'll jump into Maya and set up your own VR stereo rig. Finally, you'll take a stereo render from Maya and bring it into NUKE to discuss this new VR compositing workflow. When you're finished with this Virtual Reality course, you'll not only have a solid understanding of this new frontier, but you'll also have the skills to then apply these techniques to your own unique project. Software required: Nuke 9.0v4, and Maya 2016.
Doug Hogan is the Compositing Supervisor and a Senior Lighter currently working at Reel FX Animation Studios in Dallas for the last 7 years. His credits include the feature animated comedy “Free Birds”, the Guillermo Del Toro produced “The Book of Life”, the currently in production "W.I.S.H. Police", and the recently announced untitled Scooby-Doo feature film for Warner Bros.
Course Overview Hi, everyone. My name is Doug Hogan, and welcome to 360 VR Compositing. I'm the compositing supervisor at Reel FX Creative Studios in Dallas. In this course, we're going to learn all about the new compositing workflows required to work in this new filmmaking medium, AKA VR, as well as how to generate your own VR images for the headset of your choice. Some of the major topics that we'll cover include, one, stereoscopic versus VR compositing workflows. Two, setting up your own stereoscopic VR camera rig. Three, what tools in Nuke are friendly and very unfriendly to this new workflow. Four, the new cinematography rules in 360 3D VR. And five, how to produce a stitched final image ready for a virtual reality headset. By the end of this course, you'll not only be familiar with this new filmmaking tool, but also ready to use it on your own projects. Before beginning the course, you should be familiar with both Nuke, stereoscopic compositing, and basic lighting and rendering in Maya. You should also have a VR headset available like Google's Cardboard or the Gear VR to get the most out of the images that we'll render and composite. I hope you'll join me on this journey to learn more about working in VR with 360 VR Compositing Course at Pluralsight.