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

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Digital-Tutors: Match Moving and Compositing Pipeline in Maya and After Effects
Digital-Tutors: Match Moving and Compositing Pipeline in Maya and After Effects
English | Flash Video (vp6f) .FLV | 2hours | 782x646 | mp3, 44100 Hz, mono, 96 kb/s | 1.89 GB
Genre: Video Training


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 Overview2. Examining the shots and the footage3. Creating a plan to keep our shots consistent for Maya4. Manually tracking shot two5. Manually tracking shot three6. Manually tracking shot four7. Creating the coordinate system for shot four8. Manually tracking shot five9. Integrating our various matchmoves into one scene10. Continuing to integrate our shots together in Maya11. Creating low-quality previews in Composite for use in Maya12. Offsetting our cameras and image planes to play correctly13. Hand-matching a camera inside Maya14. Matching the table orientation on shot 1 cam15. Constraining a preview camera to move with our shots16. Testing our matchmove inside Maya and fixing any issues17. Modeling the pyramid asset18. Extruding and Beveling our pyramid19. Modeling the interior of the pyramid20. Animating the first shot - Pyramid sliding across the table21. Animating the second shot - Pyramid opens22. Creating emitters for our nParticles23. Animating the emitters in sync with the doors opening24. Adding Newton and Drag forces to draw our particles into the air25. Keeping our nParticles in the pyramid and creating a vortex26. Creating the goal models for our particles27. Animating the goals on and off to create the transitions28. Using a Gravity force to create falling particles29. Caching our particles and instancing geometry30. Bringing in our HDR image for indirect lighting31. Adding direct lighting sources32. Creating a material for our pyramid33. Using projection techniques to vary particle color by distance34. Animating the particle projection to stay with our particles35. Animating the particle ramp and beginning our table shader36. Creating a clean plate and reflection map for shot 137. Projecting our reflection map onto our geometry38. Setting up basic render passes and layers39. Changing our Ambient Occlusion pass for the best results40. Choosing the file type and frame buffer for compositing41. Rendering with multiple cameras and fixing the preview cam42. Overriding render layers to render each camera separately43. Creating a layer to output a particle matte pass44. Creating the reflection height shader and pass45. Doing final checks on render settings and batch rendering46. Dealing with mental rayŽ 'out of memory' errors47. Color correcting our shots for consistency in After Effects48. Using the Exposure and Curves Effects to CC shot 249. Fixing shot 3 with color correction and Keying effects50. Reusing color correction effects to save time on shot 451. Tracking the table and beginning the color correction in shot 552. Using a luma keyer to finish shot 553. Setting up our project and using EXtractoR effects54. Combining our basic color passes and precomping55. Combining passes to create a proper foreground alpha56. Using our Clean Plate to fix the shot 1 background57. Adding the reflection to our background58. Cutting out the reflection and combining it correctly59. Lightwrapping and blurring to composite with background60. Adding AO to the background and masking the foreground61. Adding DOF using Lens blur and using Minimax to fix edges62. Adding motion blur using our motion vector pass with RSMB63. Fixing the background ambient occlusion and the blurred mask64. Using Keying techniques to fix depth in shot 265. Creating an expansive ground shadow using existing images66. Removing the visible markers using our own setup67. Using the particle matte to color correct our particles68. Adding shot 2 motion blur and fixing our blurs to finish shot 269. Converting Shot 2 to Shot 3 and fixing various issues70. Cleaning the background with masking and layering techniques71. Converting Shot 3 to Shot 4 and fixing depth blurs72. Using the Tracker to remove our Markers73. Converting shot 4 to shot 5 and fixing alpha issues74. Fixing the reflections by manually masking our layers75. Making last minute color correction tweaks and fixing mattes76. Removing the shadow in shot 3 and viewing our final shots


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yvk91.DigitalTutors.Match.Moving.and.Compositing.Pipeline.in.Maya.and.After.Effects.part2.rar
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yvk91.DigitalTutors.Match.Moving.and.Compositing.Pipeline.in.Maya.and.After.Effects.part8.rar
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Tags: Digital, Moving, Compositing, Pipeline, Effects


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