fxphd - NUK305 - Project Masterclass : The Machine
English | AVC1 1152x720 24 fps | AAC 64 Kbps 44.1 KHz | 13.76 GB
This course, taught by returning Nuke prof Russell Dodgson is a fully production based course. It is designed to tie in directly with it抯 companion course, MYA214: Production-based Lighting and Rendering being taught by Robert Harrington. The class will be dealing with a full vfx sequence shot bespoke for the course. The classes will attack a variety of compositing tasks week by week and will pay attention to how we view a sequence as a whole as well as concentrating on the minutia of each individual shot. One of the courses main goals is to get full understanding of how we should approach the compositing of cg elements, and correctly using renders to rebuild our cg in comp so that we can adjust certain passes without incorrectly corrupting the contribution of others.
In our opening class we start an overview of what抯 to come in the rest of the term, the software we will use and why as well as what our learning goals are. We then take a look at setting up our default render tree using the new toolsets feature of Nuke 6.3. To finish we start roughly blocking out our sequence to get a sense of continuity.
This week is all about process. We continue from last week by blocking out our bullet hits. We start with a very brief look at Shotgun for project Management followed by a similarly brief look at RV when integrated with Nuke. We then get stuck straight into the work, we go through our key plates and learn how we can use the new Planar Tracker to improve our tracking in both speed and accuracy. Following this we work out the most efficient way to develop our bullet hit timings so they work across multiple shots. To finish up we take this and apply it in different ways to our tracks. Be warned there is a tonne of ground covered in this class, so you are going to be kept busy!
This week we look at removing blinks from our actor抯 performance as he fires a gun. We make use of the new 6.3 spline warp to do this and then move on to look at rebuilding muzzle flashes. This week comes with a lot of homework so clear your diaries.
This week we take a look at a few different aspects of the project. The main focus is file workflow and how to setup small colour pipelines. We look at how the dpx files for this project have been exported from the original r3d files. We then look at setting up custom viewer looks and generating lutâ?檚 from Nuke to allow integration with other applications. We then finish by looking a nice trick for handling heavily defocused roto edges.
This week we spend our last whole class on the shooting sequence before moving onto the second scenario. We take a look at our bullet hit elements and approach the comp of them together from scratch. We then finish up with our first look at a bit of paint.
This week we take a look our first look at our second sequence. We beak down what we are going to be doing on it, bash together basic background and then get stuck into the ibk keyer on our shot.
This week we take a first look at the set of AOV抯 that we have received from the corresponding Maya course. We break them apart, look at what they all do and the look at three ways of approaching tools for splitting and reconstructing our passes. We use toolsets and get a nice practical way of seeing the amazing benefits of knowing a bit of python.
This week we get back to keying our second sequence. First we setup a 3d projection of our set by converting a latlong into a series of cubic maps. We then focus on keying a more complex shot, focusing primarily on maintaining hair detail and using clean plates.
In our penultimate class we take a look at some 3d renders. The main goal of this class is to give an idea of how one can approach compositing a piece multi channel cgi. Focusing on the process, we break the renders down into their component parts, start to gain a perspective on where we want to take them creatively, and then start to have a play. This class is intended to be a spring board to push you forward into the big task of compositing the rest of the shots for this sequence. We also take a look at a way of fixing the buzzing hair issues that are apparent on several of the shots.
The big finale! We start an entirely new and exciting shot which is going to look heavyweight on your reels. We take in our renders, rebuild our entire environment with projections. We fix issues, grade plates, use some nifty tricks for layout and take it to a nice a looking conclusion.