Maya和AE镜头跟踪和合成原理教程 Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects

学习教程Maya和AE镜头跟踪和合成原理教程 Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects已关闭评论2,082

由Digital Tutors 公司最新出品的Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects教程,Maya2011和AE CS4镜头跟踪和合成原理教程。适用于电影摄影界、电视台、广告界、摄影界、音乐MTV应用等。
教程共76个章节内容,此提供第11-30章节的内容,后面的教程将陆续补上,请大家关注。
教程所使用的软件:Maya 2011, After Effects CS4

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在这一系列的教程中,我们将学习如何采取一些画面和移动整个MatchMover到Maya里,对管道建立一个完整的镜头。透过整个管线,我们将能够学习,每个应用程序之间和内部的具体问题,并提出有关建议和技巧
In this series of lessons we'll learn how to take some footage and move it through the entire MatchMover to Maya to After Effects 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.

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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 camera are set-up, we'll learn how to model our object, create dynamics, animate, texture and render our scene. We'll then jump into After Effects 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.

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1. Introduction and Project Overview

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3. Creating a plan to keep our shots consistent for Maya

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5. Manually tracking shot three

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7. Creating the coordinate system for shot four

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9. Integrating our various matchmoves into one scene

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11. Creating low-quality previews in Composite for use in Maya

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13. Hand-matching a camera inside Maya

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15. Constraining a preview camera to move with our shots

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17. Modeling the pyramid asset

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19. Modeling the interior of the pyramid

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21. Animating the second shot - Pyramid opens

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23. Animating the emitters in sync with the doors opening

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25. Keeping our nParticles in the pyramid and creating a vortex

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27. Animating the goals on and off to create the transitions

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29. Caching our particles and instancing geometry

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31. Adding direct lighting sources

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33. Using projection techniques to vary particle color by distance

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35. Animating the particle ramp and beginning our table shader

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37. Projecting our reflection map onto our geometry

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39. Changing our Ambient Occlusion pass for the best results

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41. Rendering with multiple cameras and fixing the preview cam

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43. Creating a layer to output a particle matte pass

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45. Doing final checks on render settings and batch rendering

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47. Color correcting our shots for consistency in After Effects

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49. Fixing shot 3 with color correction and Keying effects

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51. Tracking the table and beginning the color correction in shot 5

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53. Setting up our project and using EXtractoR effects

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55. Combining passes to create a proper foreground alpha

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57. Adding the reflection to our background

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59. Lightwrapping and blurring to composite with background

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61. Adding DOF using Lens blur and using Minimax to fix edges

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63. Fixing the background ambient occlusion and the blurred mask

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65. Creating an expansive ground shadow using existing images

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67. Using the particle matte to color correct our particles

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69. Converting Shot 2 to Shot 3 and fixing various issues

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71. Converting Shot 3 to Shot 4 and fixing depth blurs

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73. Converting shot 4 to shot 5 and fixing alpha issues

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75. Making last minute color correction tweaks and fixing mattes

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2. Examining the shots and the footage
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4. Manually tracking shot two
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6. Manually tracking shot four
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8. Manually tracking shot five
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10. Continuing to integrate our shots together in Maya
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12. Offsetting our cameras and image planes to play correctly
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14. Matching the table orientation on shot 1 cam
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16. Testing our matchmove inside Maya and fixing any issues
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18. Extruding and Beveling our pyramid
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20. Animating the first shot - Pyramid sliding across the table
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22. Creating emitters for our nParticles
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24. Adding Newton and Drag forces to draw our particles into the air
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26. Creating the goal models for our particles
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28. Using a Gravity force to create falling particles
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30. Bringing in our HDR image for indirect lighting
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32. Creating a material for our pyramid
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34. Animating the particle projection to stay with our particles
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36. Creating a clean plate and reflection map for shot 1
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38. Setting up basic render passes and layers
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40. Choosing the file type and frame buffer for compositing
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42. Overriding render layers to render each camera separately
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44. Creating the reflection height shader and pass
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46. Dealing with mental ray® 'out of memory' errors
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48. Using the Exposure and Curves Effects to CC shot 2
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50. Reusing color correction effects to save time on shot 4
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52. Using a luma keyer to finish shot 5
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54. Combining our basic color passes and precomping
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56. Using our Clean Plate to fix the shot 1 background
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58. Cutting out the reflection and combining it correctly
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60. Adding AO to the background and masking the foreground
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62. Adding motion blur using our motion vector pass with RSMB
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64. Using Keying techniques to fix depth in shot 2
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66. Removing the visible markers using our own setup
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68. Adding shot 2 motion blur and fixing our blurs to finish shot 2
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70. Cleaning the background with masking and layering techniques
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72. Using the Tracker to remove our Markers
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74. Fixing the reflections by manually masking our layers
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76. Removing the shadow in shot 3 and viewing our

 

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