'Infiltrator' Production Pipeline Volume 7: Compositing in Composite
In this series of lessons, we'll learn how to use Composite to reassemble our Maya render passes and integrate them with our background plates. Software required: Composite 2011 and up.
What you'll learn
In this series of lessons, we'll learn how to use Composite to reassemble our Maya render passes and integrate them with our background plates. Using composite to assemble our final render gives us an incredible amount of creative control over the final look of our shot. We'll begin this project by importing our render passes from Maya. From there, we will do some basic compositing. We'll then begin troubleshooting our shot and using a variety of tools and techniques to integrate our elements. We'll also learn how to fix issues in our background plate using masks, keyers, and other tools. During this shot, we will be animating various elements to tell the director's story. Finally, we'll finish the shot by using warping and filtering tools to create an ending for our 'Infiltrator' shot. Software required: Composite 2011 and up.
Table of contents
- Importing Our Images into Composite 5m
- Using a Display Pass-through to See the Correct Gamma 5m
- Adding Our Shadows and Ambient Occlusion Using a CC Basics Node 6m
- Compositing Our Colors Layers and Gamma Shifting 5m
- Lightwraping Our Foreground Using a Macro Preset 5m
- Darkening Our Background with Our AO and Shadows 7m
- Formatting Our Depth Pass to Work with a Blur Node 9m
- Adding Depth of Field Blur Using the Modulation Tab 11m
- Fixing Blown out Pixels and Using Alpha Tools to Fix Edge Issues 11m
- Adding Motion Blur Using Our 2D Motion Vector Pass 5m
- Using Streams to Effect Multiple Layers with a Single Tool 11m
- Fixing the Background Blur Tool and Input Images for Clean Edges 8m
- Adjusting the Wall AO and Shadow for More Realistic Results 5m
- Beginning to Fix the Wall with a Diamond Keyer 7m
- Compositing the Cut-out Wall Over Black and Blurring the Edge 6m
- Using the Color Curves Tool for Spill Suppression of the Green Hue 8m
- Fixing Small Areas of Our Wall by Modifying Our Key 5m
- Animating the Blending of the Spider for a Darker Start 7m
- Using Our RBGA Matte to Color-correct Parts of the Spider 8m
- Blurring and Graining the Spider Subtly for Increased Realism 9m
- Preview Rendering and Using Intermediate Results for Speed 11m
- Fixing a Wall Issue with an Animated Garbage Matte 8m
- Finishing the Garbage Mask Animation for Our Wall 11m
- Color-correcting Our Foreground to Match the Wall Better 7m
- Adding Chromatic Aberration to Our Composite 8m
- Creating a Lens Flare Using the Lens Blur Tool and Animation 10m
- Adding Other Filters to Finish Our Lens Flare Effect 7m
- Color-correcting and Vignetting Our Composition 10m
- Showing the Spider Break the Camera 10m
- Color-correcting Our Spider to Show It Gathering Energy 6m
- Pinching Our Composition to Begin Transitioning Out 5m
- Using a Lens Blur to Blow out and Blur Our Image 6m
- Using Flares to Add Light Streaks to Our Composition 7m
- Using Halos to Create an Appealing Lighting Effect 11m
- Rendering Our Final Shot 10m
About the author
Along with creating and recording training, he also used to manage the support team and work closely with the production development team at Digital-Tutors, now a Pluralsight company. He began his career working freelance and quickly realized that he wanted to find a company where he could use his talents to help people succeed in the CG industry. Chris has likely watched more Pluralsight creative training than anyone on the planet, and its evidenced by his Einstein-sized brain and encyclopedic... more