Digital Tutors - Match Moving and Compositing Pipeline in Maya 2011 and Nuke 6 | *.flv | +Project Files | 3.75 GB

由Digital Tutors 公司最新出品的Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and Nuke 6教程，Maya2011和Nuke 6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74个章节内容。全面学习Maya2011和Nuke 6合成技术。

NUKE是一个获得学院奖(Academy Award)的数码合成软件。已经经过10年的历练，为艺术家们提供了创造具有高质素的相片效果的图像的方法。NUKE无需专门的硬件平台，但却能为艺术家提供组合和操作扫描的照片，视频板以及计算机生成的图像的灵活、有效、节约和全功能的工具。在数码领域，NUKE已被用于近百部影片和数以百计的商业和音乐电视，NUKE具有先进的将最终视觉效果与电影电视的其余部分无缝结合的能力，无论所需应用的视觉效果是什么风格或者有多复杂。

Nuke合成软件参与制作的著名影视有：《后天/末日浩劫The Day After Tomorrow 》,I, Robot 机械公敌、《极限特工》xXx、《泰坦尼克号》、T-2、《阿波罗13》、《真实的谎言》、《X战警》、《金刚》等...

Lesson Outline (74 lessons)

In this series of lessons we'll learn how to take some footage and move it through the entire MatchMover to Maya to Nuke pipeline to create a finished shot.

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 Nuke 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 Nuke

49. Fixing shot 3 with color correction and Keyer nodes

51. Using a luma keyer to darken our scene in shot 5

53. Breaking apart our EXR into passes and setting the colorspace

55. Combining passes to create a proper foreground alpha

57. Adding DOF and dilating our pass to fix edge issues

59. Lightwrapping and blurring to composite with background

61. Tweaking the reflection and adding AO to the background

63. Creating an expansive ground shadow using existing images

65. Painting out the visible markers using RotoPaint

67. Converting Shot 2 to Shot 3 and editing the read nodes and blurs

69. RotoPainting markers out of the background

71. Using RotoPaint to fix background errors

73. Animating the particle color correction during the fall

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 a ColorLookup and ColorCorrect to push our footage

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

52. Tracking the table and combining keys to finish shot 5

54. Combining our basic color passes and specularity

56. Using our Clean Plate to fix shot 1

58. Adding motion blur using our motion vector pass

60. Adding the reflection to our background

62. Using Keying techniques to fix depth in shot 2

64. Blurring our Depth and Motion Vectors for a soft look

66. Using the particle matte to color correct our particles

68. Adding larger ground ambient occluion

70. Converting Shot 3 to Shot 4 and making color tweaks

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

74. RotoPainting markers and viewing the final