Real-world Techniques for Multipass Compositing in After Effects
Learn to composite an animated end tag for a fictitious product. Software required: After Effects CC 2014, Maya 2015, Vray 3.0 and Cinema 4D R16
What you'll learn
We'll get an exclusive look at the creative process and reasoning behind compositing using render elements from V-Ray in Maya and the physical renderer in CINEMA 4D. We'll learn how to get the most out of them in an After Effects linear space compositing pipeline using proven advanced techniques from professional, real world scenarios. By the end of this After Effects training, you'll have a range of new tips and tricks to be able to use in your own projects. Software required: After Effects CC 2014, Maya 2015, Vray 3.0 and Cinema 4D R16
Table of contents
- Let's Get Linearized 9m
- Recommended File Formats for Compositing 8m
- Project Organization, Goals, and Breakdown 8m
- Basic Additive Technique for Compositing Render Elements 10m
- Advanced Additive Technique for Compositing Render Elements 10m
- Using Light Selects to Composite Render Elements 9m
- Subtractive Techniques for Compositing Render Elements 8m
- Setting up Lighting Controls for Our Composite 10m
- Balancing Our Robot Composite 11m
- Improving Details on Our Robot Composite 10m
- Finalizing the First Pass for Our Robot Composite 5m
- Getting Started with Our CINEMA 4D Composite 9m
- Controlling Our Diffuse/Lighting Pass 11m
- Adding Color to Our Specular and Shadow Pass 7m
- Refining Our GI Pass for Our Environment 9m
- Tweaking the Ambient and Reflection Passes 10m
- Adding an Underwater Look Using Our Refraction Pass 10m
- What Are UV Passes and How Can We Use Them? 8m
- Using UVs to Create Custom Displacement Maps 8m
- Adding Bubbles and Liquid Using UV Maps 8m
- Exploring Techniques for Compositing AO and Shadow Passes 8m
- Using RGB Channels to Color Match Elements 5m
- Making Sure We Have a Balanced Composite 6m
- Animating Our Lighting Controls 9m
- Creating a Balanced Comp for the Back of the Robot 10m
- Finishing up the Lighting on Our Robot Comp 9m
- Let's Talk About Light Wraps 9m
- Overall Color Grades and Vignettes 5m
- Adding Atmospheric Particles to Our Scene 10m
- Creating and Compositing an RGB Volume Light 11m
- Addressing Client Notes in Comp to Save Time 11m
- Faking Liquid Using UVs and Fractal Noise 5m
- Advanced Tips for Using UVs 8m
- Let's Talk About Relighting! 10m
- Adding Contrast and Contact Lighting 7m
- Fake Reflections and Cheap Rim Lights 10m
- A New Way to Look at Glows in After Effects 9m
- Compositing Contact Lighting for Our Laser Gun Flashes 10m
- A Look at Position Passes Inside After Effects 9m
- Using Position Passes to Create UVs 8m
- Extracting Position Data from Our World Position Pass 6m
- Adding Destruction Elements 11m
- Depth of Field in After Effects Using C4d Renders 10m
- Applying Depth of Field to Our Robot Using Maya and V-ray Renders 9m
- Adding Motion Blur to Our Comps 9m
- Finishing Our Composite and Project 11m
About the author
Renzo Reyes is a Senior Compositor/ Animator living in Los Angeles, California. Currently, he serves as Lead Compositor at design and animation studio, We Are Royale. Knowledgeable in both After Effects and Nuke compositing workflows, Renzo is very passionate about his craft and always eager to learn and teach new techniques, tips and tricks. He's also a certified Adobe After Effects CC expert. To get a more detailed look at Renzo's collection of work, feel free to visit his portfolio site.