Description
This course, taught by Amid Rajabi, is the first of a three part course covering integrating the car from VRY203 into a live action plate. He starts by covering ACES, setting up color management in Nuke with OCIO, and setting the right color space for the footage that was filmed by an ARRI camera.
Next, the course shows camera tracking in Nuke as well as using the Point Cloud Generator to create models of the rocky cliff for projection effects. Next, the camera and scene is exported to Maya and prepared for the next steps.
Amid is a freelance look development , compositor, and instructor. He has been working in the industry for close to 18 years, becoming a Nuke Certified Trainer in 2012 and has been working with Chaos Group and Autodesk as a closed beta tester for V-Ray and Bifrost. Since 2016 he has created multiple short films, with several accepted at international film festivals such as Santa Cruz (Argentina), Pachuca (Mexico), and Cinalfama (Portugal).
Thanks to Victor Perez for serving as our vfx supervisor for the shot.
VRY204 – Look Development With Maya V-Ray And Nuke Part 1
Class 1: Overview
A brief overview of the course and plotting the path to achieve a cinematic look.
Class 2: Color Management
Examining the footage and obtaining metadata through the ViewMetaData node. Using OpenColorIO and ACES in Nuke.
Class 3: Camera Tracking
Using data about the ARRI camera sensor, re-creating an accurate movement of the camera by using the CameraTracker node in Nuke.
Class 4: Scene Adjustments
Setting up the scene after the preliminary camera tracking calculation, resizing all the parameters of the scene to real-world conditions.
Class 5: Testing the Track
Verifying the precision of the camera tracking by putting test objects in the scene and exporting the objects and point clouds to Maya.
Class 6: Modeling the cliffs
Creating a model of the environment (to be later used for reflections) using the PointCloudGenerator in Nuke.
Class 7: Maya initial setup
Getting our scene started in Maya, getting ready for the rigging process and more in the next course (VRY205).
Look Development with Maya, V-Ray and Nuke – Part 2
Class 1: Overview
A refresher about the course and an overview of how we will rig, animate, and set up the lights and render our shot.
Class 2: Rigging, Part 1
Examining the primary information about the rig and getting through the rigging process of one of the car wheels.
Class 3: Rigging, Part 2
Transferring the rig to other wheels and build up the needed controllers and the related attributes for them.
Class 4: Final rigging and initial animation
Finalizing the car rigging and a discussions of the components of animating the car.
Class 5: Animation
Working on the car animation, including finessing to get a more complete, detailed, and accurate animation.
Class 6: Mesh adjustments
Remodeling the Nuke-generated PoissonMesh meshes with the help of the Maya Quad Draw tool.
Class 7
In this session, we’re going to perform the lighting of the scene based on the footage that we have in V-Ray.
Class 8
In this session, we’re going to revise and correct the shader that we built for the Projection and build the existing trees in the shot by using the Opacity Map.
Class 9
We’re going to make the rendering layers by Render Setup in Maya and add the needed AOVs in V-Ray.
Class 10
We’re going to finalize the render setting parameters and starting the render.
Look Development with Maya, V-Ray and Nuke – Part 3
Class 1: Setup
Using the render passes to set up the multi-pass compositing process.
Class 2: Grading, Part 1
Grade of the reflection pass so that the car reflects the background in a realistic way.
Class 3: Grading, Part 2
Grading the car to match the background plate.
Class 4: Shadow Extraction, Part 1
Using the Keyer and Erode nodes to extract the luminance for the shadow extraction process.
Class 5: Shadow Extraction, Part 2
Finalizing the shadow extraction.
Class 6: Ambient Occlusion
Add ambient occlusion to the background to improve the realism of the shot.
Class 7: Final touches
Adding grain and other final touches for the composite.
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