Digital Tutors - Match Moving and Compositing Pipeline in Maya 2011 and Nuke 6 | *.flv | +Project Files | 3.75 GB

Lesson Outline (74 lessons)
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 this project 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 camera 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. Now, this is a long project that will take some time to complete. If you get stuck or have any questions, please join our forums and ask. We check the forums often and have a very active and helpful community.


1. Introduction and Project Overview
3. Creating a plan to keep our shots consistent for Maya
5. Manually tracking shot three
7. Creating the coordinate system for shot four
9. Integrating our various matchmoves into one scene
11. Creating low-quality previews in Composite for use in Maya
13. Hand-matching a camera inside Maya
15. Constraining a preview camera to move with our shots
17. Modeling the pyramid asset
19. Modeling the interior of the pyramid
21. Animating the second shot - Pyramid opens
23. Animating the emitters in sync with the doors opening
25. Keeping our nParticles in the pyramid and creating a vortex
27. Animating the goals on and off to create the transitions
29. Caching our particles and instancing geometry
31. Adding direct lighting sources
33. Using projection techniques to vary particle color by distance
35. Animating the particle ramp and beginning our table shader
37. Projecting our reflection map onto our geometry
39. Changing our Ambient Occlusion pass for the best results
41. Rendering with multiple cameras and fixing the preview cam
43. Creating a layer to output a particle matte pass
45. Doing final checks on render settings and batch rendering
47. Color correcting our shots for consistency in Nuke
49. Fixing shot 3 with color correction and Keyer nodes
51. Using a luma keyer to darken our scene in shot 5
53. Breaking apart our EXR into passes and setting the colorspace
55. Combining passes to create a proper foreground alpha
57. Adding DOF and dilating our pass to fix edge issues
59. Lightwrapping and blurring to composite with background
61. Tweaking the reflection and adding AO to the background
63. Creating an expansive ground shadow using existing images
65. Painting out the visible markers using RotoPaint
67. Converting Shot 2 to Shot 3 and editing the read nodes and blurs
69. RotoPainting markers out of the background
71. Using RotoPaint to fix background errors
73. Animating the particle color correction during the fal
2. Examining the shots and the footage
4. Manually tracking shot two
6. Manually tracking shot four
8. Manually tracking shot five
10. Continuing to integrate our shots together in Maya
12. Offsetting our cameras and image planes to play correctly
14. Matching the table orientation on shot 1 cam
16. Testing our matchmove inside Maya and fixing any issues
18. Extruding and Beveling our pyramid
20. Animating the first shot - Pyramid sliding across the table
22. Creating emitters for our nParticles
24. Adding Newton and Drag forces to draw our particles into the air
26. Creating the goal models for our particles
28. Using a Gravity force to create falling particles
30. Bringing in our HDR image for indirect lighting
32. Creating a material for our pyramid
34. Animating the particle projection to stay with our particles
36. Creating a clean plate and reflection map for shot 1
38. Setting up basic render passes and layers
40. Choosing the file type and frame buffer for compositing
42. Overriding render layers to render each camera separately
44. Creating the reflection height shader and pass
46. Dealing with mental ray?® 'out of memory' error
48. Using a ColorLookup and ColorCorrect to push our footage
50. Reusing color correction nodes to save time on shot 4
52. Tracking the table and combining keys to finish shot 5
54. Combining our basic color passes and specularity
56. Using our Clean Plate to fix shot 1
58. Adding motion blur using our motion vector pass
60. Adding the reflection to our background
62. Using Keying techniques to fix depth in shot 2
64. Blurring our Depth and Motion Vectors for a soft look
66. Using the particle matte to color correct our particles
68. Adding larger ground ambient occluion
70. Converting Shot 3 to Shot 4 and making color tweaks
72. Converting shot 4 to shot 5 and fixing alpha issues
74. RotoPainting markers and viewing the final shots