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Home » 2010 » October » 26 » Digital-Tutors : Match Moving and Compositing Pipeline in Maya 2011 and After Effects

Digital-Tutors : Match Moving and Compositing Pipeline in Maya 2011 and After Effects

In this series of lessons we'll learn how to take some footage and move it through the entire MatchMover to Maya to After Effects pipeline to create a finished shot. By going through the entire pipeline, we will be able to learn about specific issues and tips and tricks while moving between and inside each application.

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 After Effects 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
2. Examining the shots and the footage
3. Creating a plan to keep our shots consistent for Maya
4. Manually tracking shot two
5. Manually tracking shot three
6. Manually tracking shot four
7. Creating the coordinate system for shot four
8. Manually tracking shot five
9. Integrating our various matchmoves into one scene
10. Continuing to integrate our shots together in Maya
11. Creating low-quality previews in Composite for use in Maya
12. Offsetting our cameras and image planes to play correctly
13. Hand-matching a camera inside Maya
14. Matching the table orientation on shot 1 cam
15. Constraining a preview camera to move with our shots
16. Testing our matchmove inside Maya and fixing any issues
17. Modeling the pyramid asset
18. Extruding and Beveling our pyramid
19. Modeling the interior of the pyramid
20. Animating the first shot - Pyramid sliding across the table
21. Animating the second shot - Pyramid opens
22. Creating emitters for our nParticles
23. Animating the emitters in sync with the doors opening
24. Adding Newton and Drag forces to draw our particles into the air
25. Keeping our nParticles in the pyramid and creating a vortex
26. Creating the goal models for our particles
27. Animating the goals on and off to create the transitions
28. Using a Gravity force to create falling particles
29. Caching our particles and instancing geometry
30. Bringing in our HDR image for indirect lighting
31. Adding direct lighting sources
32. Creating a material for our pyramid
33. Using projection techniques to vary particle color by distance
34. Animating the particle projection to stay with our particles
35. Animating the particle ramp and beginning our table shader
36. Creating a clean plate and reflection map for shot 1
37. Projecting our reflection map onto our geometry
38. Setting up basic render passes and layers
39. Changing our Ambient Occlusion pass for the best results
40. Choosing the file type and frame buffer for compositing
41. Rendering with multiple cameras and fixing the preview cam
42. Overriding render layers to render each camera separately
43. Creating a layer to output a particle matte pass
44. Creating the reflection height shader and pass
45. Doing final checks on render settings and batch rendering
46. Dealing with mental ray® 'out of memory' errors
47. Color correcting our shots for consistency in After Effects
48. Using the Exposure and Curves Effects to CC shot 2
49. Fixing shot 3 with color correction and Keying effects
50. Reusing color correction effects to save time on shot 4
51. Tracking the table and beginning the color correction in shot 5
52. Using a luma keyer to finish shot 5
53. Setting up our project and using EXtractoR effects
54. Combining our basic color passes and precomping
55. Combining passes to create a proper foreground alpha
56. Using our Clean Plate to fix the shot 1 background
57. Adding the reflection to our background
58. Cutting out the reflection and combining it correctly
59. Lightwrapping and blurring to composite with background
60. Adding AO to the background and masking the foreground
61. Adding DOF using Lens blur and using Minimax to fix edges
62. Adding motion blur using our motion vector pass with RSMB
63. Fixing the background ambient occlusion and the blurred mask
64. Using Keying techniques to fix depth in shot 2
65. Creating an expansive ground shadow using existing images
66. Removing the visible markers using our own setup
67. Using the particle matte to color correct our particles
68. Adding shot 2 motion blur and fixing our blurs to finish shot 2
69. Converting Shot 2 to Shot 3 and fixing various issues
70. Cleaning the background with masking and layering techniques
71. Converting Shot 3 to Shot 4 and fixing depth blurs
72. Using the Tracker to remove our Markers
73. Converting shot 4 to shot 5 and fixing alpha issues
74. Fixing the reflections by manually masking our layers
75. Making last minute color correction tweaks and fixing mattes
76. Removing the shadow in shot 3 and viewing our final shots

Runtime: 9 hrs. 15 min

Category: Tutorials | Views: 562 | Added: defaultNick | Tags: Match, Digital, Compositing, in, Tutors, moving, Maya, 2011, and, Pipeline | Rating: 0.0/0

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