Match Moving and Compositing Pipeline in Maya and Composite
In this series of lessons, we'll learn how to take some footage and move it through the entire MatchMover to Maya to the Composite pipeline to create a finished shot. Software required: Maya 2011, Composite 2011.
What you'll learn
In this series of lessons, we'll learn how to take some footage and move it through the entire MatchMover to Maya to the Composite pipeline to create a finished shot. By going through the entire pipeline, we will be able to learn about specific issues and tips and tricks while moving between and inside each application. 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 cameras are set up, we'll learn how to model our object, create dynamics, animate, texture, and render our scene. We'll then jump into Composite 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. Software required: Maya 2011, Composite 2011.
Table of contents
- Examining the Shots and the Footage 4m
- Creating a Plan to Keep Our Shots Consistent for Maya 8m
- Manually Tracking Shot Two 11m
- Manually Tracking Shot Three 6m
- Manually Tracking Shot Four 8m
- Creating the Coordinate System for Shot Four 3m
- Manually Tracking Shot Five 8m
- Integrating Our Various Match Moves into One Scene 8m
- Continuing to Integrate Our Shots Together in Maya 6m
- Creating Low-quality Previews in Composite for Use in Maya 7m
- Offsetting Our Cameras and Image Planes to Play Correctly 6m
- Hand-matching a Camera Inside Maya 10m
- Matching the Table Orientation on Shot One's Camera 11m
- Constraining a Preview Camera to Move with Our Shots 8m
- Testing Our Match Move Inside Maya and Fixing Any Issues 10m
- Modeling the Pyramid Asset 9m
- Extruding and Beveling Our Pyramid 8m
- Modeling the Interior of the Pyramid 8m
- Animating the Pyramid Sliding Across the Table 12m
- Animating the Pyramid Opening 11m
- Creating Emitters for Our nParticles 8m
- Animating the Emitters in Sync with the Doors Opening 5m
- Adding Newton and Drag Forces to Draw Our Particles into the Air 8m
- Keeping Our nParticles in the Pyramid and Creating a Vortex 7m
- Creating the Goal Models for Our Particles 8m
- Animating the Goals On and Off to Create the Transitions 10m
- Using a Gravity Force to Create Falling Particles 8m
- Caching Our Particles and Instancing Geometry 9m
- Bringing in Our HDR Image for Indirect Lighting 7m
- Adding Direct Lighting Sources 6m
- Creating a Material for Our Pyramid 11m
- Using Projection Techniques to Vary Particle Color by Distance 10m
- Animating the Particle Projection to Stay with Our Particles 8m
- Animating the Particle Ramp and Beginning Our Table Shader 5m
- Creating a Clean Plate and Reflection Map for Shot One 8m
- Projecting Our Reflection Map Onto Our Geometry 8m
- Setting up Basic Render Passes and Layers 4m
- Changing Our Ambient Occlusion Pass for the Best Results 7m
- Choosing the File Type and Frame Buffer for Compositing 6m
- Rendering with Multiple Cameras and Fixing the Preview Cam 6m
- Overriding Render Layers to Render Each Camera Separately 7m
- Creating a Layer to Output a Particle Matte Pass 4m
- Creating the Reflection Height Shader and Pass 10m
- Doing Final Checks on Render Settings and Batch Rendering 6m
- Dealing with Mental Ray out of Memory Errors 3m
- Color Correcting Our Shots for Consistency in Composite 7m
- Using a Cc_basics Tool to Push Our Footage 5m
- Fixing Shot Three with Color Correction and Keyer Nodes 10m
- Reusing Color Correction Tools to Save Time on Shot Four 6m
- Tracking the Table and Combining Keys to Start Shot Five 9m
- Using a Luma Keyer to Darken Our Scene in Shot Five 9m
- Breaking Apart Our EXR into Passes and Setting up Preferences 11m
- Combining Our Basic Color Passes and Specularity 8m
- Combining Passes to Create a Proper Foreground Alpha 8m
- Using Our Clean Plate to Fix Shot One 4m
- Adding DOF and Dilating Our Pass to Fix Edge Issues 8m
- Adding Motion Blur Using Our Motion Vector Pass 6m
- Lightwraping and Blurring to Composite with Background 9m
- Adding the Reflection to Our Background 12m
- Cutting out the Reflection and Combining It Correctly 14m
- Adding AO to the Background and Adding a Cutout 9m
- Converting Shot One to Shot Two 6m
- Using Keying Techniques to Fix Depth in Shot Two 7m
- Creating an Expansive Ground Shadow Using Existing Images 7m
- Blurring Our Depth and Motion Vectors for a Soft Look 6m
- Painting out the Visible Markers Using Our Own Setup 9m
- Using the Particle Matte to Color Correct Our Particles 6m
- Converting Shot Two to Shot Three Editing the Read Nodes and Blurs 6m
- Cleaning the Background with Garbage Masks and Vector Paint 9m
- Converting Shot Three to Shot Four and Making Color Tweaks 5m
- Using Masks and Blurs to Fix Background Errors like Markers 7m
- Converting Shot Four to Shot Five and Fixing Alpha Issues 7m
- Animating the Particle Color and Offsetting the Trackers 6m
- Fixing the Reflections and Examining Our Final Shots 11m
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