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《Nuke 6 合成教程》Digital Tutors Infiltrator Production Pipeline Volume 7: Compositing in NUKE

《Nuke 6 合成教程》Digital Tutors Infiltrator Production Pipeline Volume 7: Compositing in NUKE

由Digital Tutors公司出品的 Digital Tutors Infiltrator Production Pipeline Volume 7: Compositing in NUKE 教程,Nuke 合成教程

教程所使用的软件:NUKE 6.2 and up

D2 Nuke:NUKE是一个获得学院奖(Academy Award)的数码合成软件。已经经过10年的历练,为艺术家们提供了创造具有高质素的相片效果的图像的方法。NUKE无需专门的硬件平台,但却能为艺术家提供组合和操作扫描的照片,视频板以及计算机生成的图像的灵活、有效、节约和全功能的工具。在数码领域,NUKE已被用于近百部影片和数以百计的商业和音乐电视,NUKE具有先进的将最终视觉效果与电影电视的其余部分无缝结合的能力,无论所需应用的视觉效果是什么风格或者有多复杂。

Nuke合成软件参与制作的著名影视有:《后天/末日浩劫The Day After Tomorrow 》,I, Robot 机械公敌、《极限特工》xXx、《泰坦尼克号》、T-2、《阿波罗13》、《真实的谎言》、《X战警》、《金刚》等...

 

Digital-Tutors :'Infiltrator' Production Pipeline Volume 7: Compositing in NUKE

4 hrs. 26 min. |Released on June 1, 2011 |Project Files Included (985 MB)

Required Software: NUKE 6.2 and up
In this series of lessons we will learn how to use NUKE to re-assemble our Maya render passes, integrate them with our background plates and add some special effects. Using NUKE to composite gives us an incredible amount of creative control over the final look of our shot.

We will begin this project by importing and formatting our render passes from Maya. From there we will do some basic compositing. We will then begin troubleshooting our shot and using a variety of tools and techniques to integrate our elements. We will also learn how to fix issues in our background plate using masks, keyers and other nodes. During this shot, we will be animating various elements to tell the story of the director. Finally, we will complete the project by using distortion and blurs to create an ending for our infiltrator shot.

34 videos in this course

1. Introduction and project overview
2. Splitting the Maya renders into intelligent sets for speed
3. Importing and chaining together the various passes
4. Using Merges and ColorCorrects to re-create the beauty pass
5. Formatting the background and cloning the AO and shadows
6. Using an IBK system to begin cleaning the background
7. Creating a four-point track to begin rotoscoping our background
8. Using a CornerPin to help us rotoscoping the hole
9. Copying a grained black constant to fill the hole
10. Using the hole matte to fix the ambient occlusion issues
11. Using our motion to VectorBlur the foreground elements
12. Using our depth to Zblur our foreground elements
13. Animating the Zblur node to match our camera focus
14. Hue shifting our spider's colors using the ID Pass
15. Using a directional blur to create a laser scanning effect
16. Compositing and animating the effect to create a blow-out
17. Color correcting our foreground to match the background
18. Creating a stylized color correction on the composition
19. Adding a blur, grain and lightwrap to the foreground
20. Correcting the edge sharpness by fixing our alpha channel
21. Creating a different vignette effect and fixing the laser lightwrap
22. Using STMap to move and shifty our pixels powerfully
23. Creating TV Line offset effect using STMap and CheckerBoard
24. Using expressions to animate our TV lines correctly
25. Finishing the TV line effect at the beginning of our sequence
26. Creating a glowing lines effect to start the final distortion
27. Using a Retime node to extend our ending sequence
28. Animating our TV lines effect at the end of the sequence
29. Using noise and color correction to create a film burn effect
30. Animating and finishing our film burn effect
31. Isolating our character and distorting it on our terms
32. Using noise to create static black-and-white flickering
33. Adding chromatic aberration to our scene
34. Cropping our blurs and rendering our scene