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
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Genre: eLearning

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.

Lesson Outline (76 lessons)

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

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