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Topics covered include: Advanced concepts in 3d projections: - using the Scanline renderer to create plate and set extensions. - integrating Multipass composites with 3d sets in Nuke.
- complex object and wore removal using 3d systems and projections - integrating paint and 3d animation to generate set extensions Creating live action Composites with Nuke: - using panoramic projections to create back-plates for composited elements. - optimising live plates and 3d for better integration. - colour matching and grain techniques. Understanding complex concepts in film compositing. - colour space management of multiple elements. - optimising your file and proxy setup for working with large files and a whole lot more. Content Description: Class 1: First steps into using Nuke's UV render mode to create 'splat maps' to project 2D images onto geometry.
Using.fbx exports from Maya to sync up the camera move in Nuke for the integration of pre-rendered elements. Dissection and extension of the original image to provide the full texture map for the scene.
Class 2: Thorough breakdown of creation of all the elements needed for the shot overviewed in class 1. Camera Projection and Scanline Render set up for each texture.
Tips for texture editing for extending the initial image into a complete texture map. Class 3: Personalization of Nuke by creating custom user menus and tweaking the interface by using Python within the Nuke system files. Also, how to create, export and then load in your own gizmos as menu items. Class 4: General Nuke work flow overview in use with a background replacement.
Discussing bi-cubics on cards for added depth of elements in the scene and correcting lens distortion. Creating the shot's elements with keying and roto, including using non-keyer nodes to produce different mattes.
Class 5: Continuing the comp from class 4. Reorganizing the background elements for aesthetic purposes. Further detail into the use of bi-cubics and the DisplaceGeo node for correction and enhancement. Final tweaks to polish up the composite. Class 6: Dealing with lesser talked about issues, such as color space in compositing applications.
How color is interpreted depending on the way the footage is presented (linear, logarithmic, floating point.) Creating your own default Nuke start up template. Class 7: Working with 3D cameras and how to get the most out of importing 3d tracking data. Creating a TCL button within the menu to import Boujou tracks. Buffer trick to overlay your background onto your 3D point cloud.
Using the Reconcile3D node to eliminate the need for tracking nodes. Class 8: Using separate 3D passes embedded into an.exr, like z-depth and motion vector, for use in compositing. Applying depth of field and motion blur in Nuke.
Explanation of render layers in Maya. Class 9: The Robot Pt1 Using the Wndy House footage and the 3d Robot Character v02 together to show how create a complex live action and CGI integrated scene, as well as some tips on grading overexposed film plates and transferring.fbx data from Maya to Nuke. Class 10: The Robot Pt2 A continuation and completion of the scene focusing on the use of multipass and 3D motion blur. Finally a quick discussion on a depth of field plug-in for Nuke.