Description
Course info
Level
Advanced
Updated
Oct 25, 2016
Duration
1h 53m
Description

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.

About the author
About the author

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.

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Section Introduction Transcripts
Section Introduction Transcripts

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.

Let's Talk About VR!
Hey everyone, welcome to 360 VR Compositing. My name is Doug Hogan, and I'm the Compositing Supervisor over at Reel FX Creative Studios in Dallas. Over the last year we've really gotten a chance to do a whole bunch of different VR projects lately, and it's super exciting, so I'm super excited (chuckles) to share all the stuff that I've been learning over the past year. So we're going to divide this course up into five different modules. And each module's going to have its own kind of type. So we're going to have a lecture module, we're going to have Nuke and Maya demo modules, as well as towards the end we're going to have a Headset module, where we're going to take the rendered and composited 360 3D VR image and load it onto a smartphone and put it into the headset of your choice. So I'm going to be using Google's Cardboard, but you guys can have, just because it's a, it's a nice cheap alternative to some of the very expensive headsets that are out there right now. 30 bucks, can't really beat that. There's also a really cool headset from View-Master that I'd recommend, that's also 30 bucks. Nice and plastic, if you don't want to deal with cardboard. But you could also use like the Gear VR, or really any virtual reality headset that you guys have at hand.

Nuke Nodes in VR
All right, now that we've gone over how to set everything up in Maya and get it ready for Nuke, let's talk about Nuke Nodes in VR and which ones are seamlessly translated between a mono, stereo, and VR workflow, which ones you can kind of get away with with enough ingenuity, and which ones should be avoided all together. So let's jump over into Nuke right now.