Maya和AE镜头跟踪和合成原理教程  Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects

由Digital Tutors 公司最新出品的Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects教程，Maya2011和AE CS4镜头跟踪和合成原理教程。适用于电影摄影界、电视台、广告界、摄影界、音乐MTV应用等。

教程共76个章节内容，此提供前10章节的内容，后面的教程将陆续补上，请大家关注。

教程所使用的软件：Maya 2011, After Effects CS4

在这一系列的教程中，我们将学习如何采取一些画面和移动整个MatchMover到Maya里，对管道建立一个完整的镜头。透过整个管线，我们将能够学习，每个应用程序之间和内部的具体问题，并提出有关建议和技巧

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

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 After Effects

49. Fixing shot 3 with color correction and Keying effects

51. Tracking the table and beginning the color correction in shot 5

53. Setting up our project and using EXtractoR effects

55. Combining passes to create a proper foreground alpha

57. Adding the reflection to our background

59. Lightwrapping and blurring to composite with background

61. Adding DOF using Lens blur and using Minimax to fix edges

63. Fixing the background ambient occlusion and the blurred mask

65. Creating an expansive ground shadow using existing images

67. Using the particle matte to color correct our particles

69. Converting Shot 2 to Shot 3 and fixing various issues

71. Converting Shot 3 to Shot 4 and fixing depth blurs

73. Converting shot 4 to shot 5 and fixing alpha issues

75. ** last minute color correction tweaks and fixing mattes

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' errors

48. Using the Exposure and Curves Effects to CC shot 2

50. Reusing color correction effects to save time on shot 4

52. Using a luma keyer to finish shot 5

54. Combining our basic color passes and precomping

56. Using our Clean Plate to fix the shot 1 background

58. Cutting out the reflection and combining it correctly

60. Adding AO to the background and masking the foreground

62. Adding motion blur using our motion vector pass with RSMB

64. Using Keying techniques to fix depth in shot 2

66. Removing the visible markers using our own setup

68. Adding shot 2 motion blur and fixing our blurs to finish shot 2

70. Cleaning the background with masking and layering techniques

72. Using the Tracker to remove our Markers

74. Fixing the reflections by manually masking our layers

76. Removing the shadow in shot 3 and viewing our final shots