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FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

Posted By: serpmolot
FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project
English | January 2012 | Number of Lessons: 10 | mp4 | H264 1152x720 | AAC mono 64 Kbps | 5.35 GB
eLearning, Video training

This is a fully production based course and a GREAT reel builder while also sharing boat loads of real world visual effects production tips, techniques and even a few secrets. More and more NUKE is becoming the hub not only for composting but for overall production pipelines. It is as important for 3D artists to know NUKE as it is for compositors. This course is designed as a marriage of those two worlds with NUKE as the common language that bridges the gap.


NUK216: NUKE and Maya: Joan of Arc Project

Professor: Sean Devereaux
Software Version: 6.3
Original Run Date: January 2012

Jeremy Brown and Charles Lapage team up for another great NUKE production course designed by long time nuke prof Sean Devereaux. This is a fully production based course and a GREAT reel builder while also sharing boat loads of real world visual effects production tips, techniques and even a few secrets.

More and more NUKE is becoming the hub not only for composting but for overall production pipelines. It is as important for 3D artists to know NUKE as it is for compositors. This course is designed as a marriage of those two worlds with NUKE as the common language that bridges the gap. Jeremy and Charles will take you through several challenging shots throughout the term that are both comp and 3D heavy. You'll pull difficult keys, deal with what seem like impossible tracks, paint work and touch upon tasks most professional compositors deal with on a daily basis.

One of the most exciting aspects of this course will be side steps into Maya where Jeremy and Charles will teach compositor specific skills that is sure to amp up your reel and make you even more marketable. No more waiting for matte passes or an occlusion pass. You will learn how to go into a pre-existing Maya scene and render the passes you need for the comp as well as other powerful techniques that all compers should know.
class syllabus
Class 1: Part 1 of 2. In this two part class in which we will augment existing reflections on a sword being drawn from a scabbard, and replace a background. In class one, we model and match move the geometry in maya, then shade and render the reflections. In class two, we will take the rendered reflections and integrate them into the shot, as well as pull a key on a green screen for background replacement.
Class 2: Part 2 of 2. In this two part class in which we will augment existing reflections on a sword being drawn from a scabbard, and replace a background. In class one, we model and match move the geometry in maya, then shade and render the reflections. In class two, we will take the rendered reflections and integrate them into the shot, as well as pull a key on a green screen for background replacement. Please note: The original footage and the image used for reflections were included in the class 01 files for download.
Class 3: In Today’s lesson, Charles Lapage takes you on journey into the land of UV’s. He explains the importance of having well laid out UV’s as well as how to properly lay out UV’s if you do not have them, as we battle on with Joan of Arc. Enjoy!
Class 4: In this class, we look into the wonders and wizardry of the UV pass. We will revisit maya and learn how to create a shader to generate a UV pass. Then, it is back to the world of nuke to se how to really flex your muscles.
Class 5: Charles Lapage takes this class on an adventure of matte combinations, grading techniques and finishing tips. We will look at adjusting a camera move, creating and using an rgb matte, and even dive in to the lens flare.
Class 6: Part 1 of 3. In this three part class, will be taking a shot from start to finish in the first 2 classes and then going through a round of revisions with a client. Topics covered in the first class will be compositing CG elements, grading using normals and depth passes, applying depth of field and rack focus using a depth pass, and applying 2D camera shake.
Class 7: Part 2 of 3. In this three part class, will be taking a shot from start to finish in the first 2 classes and then going through a round of revisions with a client. Topics covered in the second class will be finalizing a key, volume rays, and plate extension.
Class 8: Part 3 of 3. In this three part class, will be taking a shot from start to finish in the first 2 classes and then going through a round of revisions with a client (Sean Devereaux). Topics covered in the third class will be retiming footage using oflow, revising a comp based on supervisor/client feedback, and other advanced topics relating to techniques discussed in previous classes.
Class 9: Charles Lapage takes you into the world of face enhancement. We will investigate the process of applying a matte painting to an actors face using an animated mesh, as well as some other useful techniques to complete the process. I hope you enjoy the class.
Class 10: In this class Charles Lapage tackles the mysteries and techniques of 2.5d relighting. We will go over generating the proper passes, as well as, various techniques for relighting our background plate as we finish off the 2 part class and the semester.


Screenshots:

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

FXPHD NUK216 - NUKE and Maya - Joan of Arc Project

NO MIRRORS PLEASE

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FXPHD NUK216 - NUKE and Maya - Joan of Arc Project
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