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'Infiltrator' Production Pipeline Volume 7: Compositing in NUKE
Digital-Tutors :'Infiltrator' Production Pipeline Volume 7: Compositing in NUKE 4 hrs. 26 min. |Released on June 1, 2011 |Project Files Included (985 MB) Required Software: NUKE 6.2 and up
In this series of lessons we will learn how to use NUKE to re-assemble our Maya render passes, integrate them with our background plates and add some special effects. Using NUKE to composite gives us an incredible amount of creative control over the final look of our shot.
We will begin this project by importing and formatting our render passes from Maya. From there we will do some basic compositing. We will then begin troubleshooting our shot and using a variety of tools and techniques to integrate our elements. We will also learn how to fix issues in our background plate using masks, keyers and other nodes. During this shot, we will be animating various elements to tell the story of the director. Finally, we will complete the project by using distortion and blurs to create an ending for our infiltrator shot.
34 videos in this course
1. Introduction and project overview 2. Splitting the Maya renders into intelligent sets for speed 3. Importing and chaining together the various passes 4. Using Merges and ColorCorrects to re-create the beauty pass 5. Formatting the background and cloning the AO and shadows 6. Using an IBK system to begin cleaning the background 7. Creating a four-point track to begin rotoscoping our background 8. Using a CornerPin to help us rotoscoping the hole 9. Copying a grained black constant to fill the hole 10. Using the hole matte to fix the ambient occlusion issues 11. Using our motion to VectorBlur the foreground elements 12. Using our depth to Zblur our foreground elements 13. Animating the Zblur node to match our camera focus 14. Hue shifting our spider's colors using the ID Pass 15. Using a directional blur to create a laser scanning effect 16. Compositing and animating the effect to create a blow-out 17. Color correcting our foreground to match the background 18. Creating a stylized color correction on the composition 19. Adding a blur, grain and lightwrap to the foreground 20. Correcting the edge sharpness by fixing our alpha channel 21. Creating a different vignette effect and fixing the laser lightwrap 22. Using STMap to move and shifty our pixels powerfully 23. Creating TV Line offset effect using STMap and CheckerBoard 24. Using expressions to animate our TV lines correctly 25. Finishing the TV line effect at the beginning of our sequence 26. Creating a glowing lines effect to start the final distortion 27. Using a Retime node to extend our ending sequence 28. Animating our TV lines effect at the end of the sequence 29. Using noise and color correction to create a film burn effect 30. Animating and finishing our film burn effect 31. Isolating our character and distorting it on our terms 32. Using noise to create static black-and-white flickering 33. Adding chromatic aberration to our scene 34. Cropping our blurs and rendering our scene
