Real-world Techniques for Multipass Compositing in After Effects

Learn to composite an animated end tag for a fictitious product. Software required: After Effects CC 2014, Maya 2015, Vray 3.0 and Cinema 4D R16
Course info
Rating
(13)
Level
Advanced
Updated
Nov 9, 2015
Duration
6h 45m
Table of contents
Introduction and Project Overview
Real-world Techniques for Multipass Compositing in After Effects
Let's Get Linearized 9m Recommended File Formats for Compositing 8m Project Organization, Goals, and Breakdown 8m Basic Additive Technique for Compositing Render Elements 10m Advanced Additive Technique for Compositing Render Elements 10m Using Light Selects to Composite Render Elements 9m Subtractive Techniques for Compositing Render Elements 8m Setting up Lighting Controls for Our Composite 10m Balancing Our Robot Composite 11m Improving Details on Our Robot Composite 10m Finalizing the First Pass for Our Robot Composite 5m Getting Started with Our CINEMA 4D Composite 9m Controlling Our Diffuse/Lighting Pass 11m Adding Color to Our Specular and Shadow Pass 7m Refining Our GI Pass for Our Environment 9m Tweaking the Ambient and Reflection Passes 10m Adding an Underwater Look Using Our Refraction Pass 10m What Are UV Passes and How Can We Use Them? 8m Using UVs to Create Custom Displacement Maps 8m Adding Bubbles and Liquid Using UV Maps 8m Exploring Techniques for Compositing AO and Shadow Passes 8m Using RGB Channels to Color Match Elements 5m Making Sure We Have a Balanced Composite 6m Animating Our Lighting Controls 9m Creating a Balanced Comp for the Back of the Robot 10m Finishing up the Lighting on Our Robot Comp 9m Let's Talk About Light Wraps 9m Overall Color Grades and Vignettes 5m Adding Atmospheric Particles to Our Scene 10m Creating and Compositing an RGB Volume Light 11m Addressing Client Notes in Comp to Save Time 11m Faking Liquid Using UVs and Fractal Noise 5m Advanced Tips for Using UVs 8m Let's Talk About Relighting! 10m Adding Contrast and Contact Lighting 7m Fake Reflections and Cheap Rim Lights 10m A New Way to Look at Glows in After Effects 9m Compositing Contact Lighting for Our Laser Gun Flashes 10m A Look at Position Passes Inside After Effects 9m Using Position Passes to Create UVs 8m Extracting Position Data from Our World Position Pass 6m Adding Destruction Elements 11m Depth of Field in After Effects Using C4d Renders 10m Applying Depth of Field to Our Robot Using Maya and V-ray Renders 9m Adding Motion Blur to Our Comps 9m Finishing Our Composite and Project 11m
Description
Course info
Rating
(13)
Level
Advanced
Updated
Nov 9, 2015
Duration
6h 45m
Description

We'll get an exclusive look at the creative process and reasoning behind compositing using render elements from V-Ray in Maya and the physical renderer in CINEMA 4D. We'll learn how to get the most out of them in an After Effects linear space compositing pipeline using proven advanced techniques from professional, real world scenarios. By the end of this After Effects training, you'll have a range of new tips and tricks to be able to use in your own projects. Software required: After Effects CC 2014, Maya 2015, Vray 3.0 and Cinema 4D R16

About the author
About the author

Renzo Reyes is a Senior Compositor/ Animator living in Los Angeles, California. Currently, he serves as Lead Compositor at design and animation studio, We Are Royale.

Section Introduction Transcripts
Section Introduction Transcripts

Introduction and Project Overview
Hi everyone, my name is Renzo Reyes. I am the lead compositor for the design and animation studio called We Are Royale in Los Angeles, California. My main tools are After Effects and Nuke. As a lead compositor, I've had a chance to work on a variety of projects, from live-action to photo real or style ICG to plain old motion graphs. Some of the projects I worked on involve clients like Nike, Oriole, Toyota, among others. In this course, we're going to composite an animated NTAC for a fictitious product, all in After Effects. For the CG, we'll be using V-Ray Maya and physical rendering in Cinema 4-D. We'll be focusing on techniques and workflows for multipass compositing inside of After Effects, all in a linearized working space. Some of the major topics we'll be discussing in this course will include working in linear space inside After Effects, how, and why. We'll take an in-depth look at other rendered elements from V-Ray in Maya, physical rendering Cinema 4-D. We'll explain their differences and how they can be used. I'll show you different methods and techniques for rebuilding the beauty paths. We'll look at how to address client nodes and changes in comp, while trying to avoid going back to CG. Finally, we'll look at tips and tricks for workflow and organization inside After Effects. I will be sharing some scripts and presets. By the end of the training, you will become more familiar with all the different rendering elements from V-Ray and physical render, as well as being able to composite them in a variety of methods. All of these tips, tricks, and techniques will help you elevate your comp skills from great to amazing. I'm excited to share these tips and techniques with you, so let's get started with the first lesson.