In this tutorial we will learn how to create a post-apocalyptic scene using the powerful 3D space and projection techniques in NUKEX.
Throughout these lessons we will go over how to composite elements such as fire and smoke, and make them as real as possible. We will be using the powerful 3D system in NUKE to position these elements properly. We are going to create a whole new environment within our scene. We will then export our camera to Maya and set up our scene and effects. You will learn new techniques in this course, as well as the skills it takes to work faster as a compositor.
Note: Due to both licensing restrictions and the advanced nature of Creative Development tutorials, the project files for this tutorial may not contain every single file that was used by the artist.
All right. Welcome back to this lesson. And we are going to create our ground [? cling ?] and we're going to import our CG element. Because this is not a flat ground, we are going to create little bumpy road. So what I'm going to do over here, I'm going to my plane shape. And I can't see my-- hm. That's weird. All right. No problem. We'll just make a new one. And go to my plane shape. That's weird. I can't see my information. Well, there's no problem. All right. So we got our plane shape over here. And we're going to make it a little bit bumpy. So what I usually do is I'm just taking a few vertices and bring it down, bring it one up. It's really hard to see if everything is really flat on the ground. If you really want to know if this is good, you have to make pictures on the set and check how the ground is behaving. But for now, this is OK. So now I'm gonna press 5 and we got our a little bit of a bumpy-- looks like something like this is. All right. I'm going to import my CG element. I can't use a robot because the robot, I got from a friend and he's working at Double Negative. And the robot is still in production. So what I'm going to do over here is I'm going to just imported a simple sphere. You can import an object, whatever you want. So we got a simple sphere. And doesn't matter what kind of object you have. You can place your own CG robot or something else. I'm just going to show you how to create and make it as real as possible. So I'm going back to my cam anim. And we got our floating ball of epicness over here. I'm going to render this out with a few rays. So what I'm going to do, I'm going to create a new shader. Go to my hypershade. And you gotta have Fury for this. So if you don't have it, please load it up. And go into my Plug-in Manager. And Fury. So I'm going to my frame materials. And I'm going to just take a diffuse color and go into my file. And I got this nice picture. Got it from Google. It says Transformers Map. And I'm going to my reflection. And I'm going to import the same one. And I did this with the robot the same way. I just used one. Texture is not really organized or everything. It's just one texture and one shader. And imposed, I just did my own style. And it looked nice. So we got something like this that I'm going to use for now. And I'm going to apply this. So here we go. And because it's a diffuse lighting, I'm going to create a dome light. And I'm going to set my intensity to 0.3. And I'm going to create one rectangle light. OK. I'm a not a professional in Maya in 3D. I'm just using my own technique and tools how I usually do this. I'm sure there's a better way of doing this. But this is the way I work. So bear with me, please. So we can place the light over here because our sky over here is really bright. So I know that it's gonna be really bright. So that's why I just put a light over here. So what I'm going to do, I'm just going to my cam anim and I'm going to render it, just to see how it looks. And let me see. Go to my mental ray. And I'm going to set my to-- we are going to work in HD 720. I put my renderer camera. And put my adaptors to DMC. And I'm going to go to my global. And render. So now I see how it looks. I'm gonna go into render this big. I'm going to my option and rendering my test. Something like this. We've got our ball over here. And doesn't look real, I know. But we are going to work on it. We still need some more diffuse lighting. And we've got its weird edge, but that's just the UV. So what I'm going to do for that one is I'm just going to rotate it. So you only see the good side. So if I render this again, that should be gone. I really like the dark side on this side. So I'm going to go like this. And I'm going to go to my [INAUDIBLE]. And I'm going to my color mapping. And I'm going to bump up my gamma 2.06, 1.06. And my type to exponential. See how this looks. So as you can see, we've got some more diffuse lighting going on. It's still too dark. And I see somewhere else. And I'm going to rotate it like this. As you can see, it's looking much better right now. I'm going to bump it up more so I have more control in my post. So what I'm going to do for this one is I'm going to render this out as an EXR. And we'll call this my ball. Do the same with your CG element. For this section, I'm going to hide my locators because it's bugging me. For this section, I'm only going to use ambient occlusion for the ground only. So what I'm going to do is I'm going to my render layers. Make a new render layer. And we got this. And I'm also going to import this one over here. We'll call this AO. Digital-tutors have a lot of tutorials about render passes, so I'm not going to really deep into it. So I'm just going to create a simple ambient occlusion pass and I'm going to render it with mental ray. I'm going to override this. Create new material override. And I'm going to-- I think I forgot how to do it. You know, sometimes if you use too many programs, you forget the old ones. So what I'm going to do here, I'm going to my hypershade. I'm going to hypershade. I'm going to create my A material and my B. Let me see. Let me see where it is. I don't think it's loaded. Do you think it's loaded? Nope. We don't have mental ray So we're gonna load it. Same stuff. Plug-in Manager. And it's right over here. Maya 2 mental ray. Refresh. Go back to my hypershade. And if press MIB we get our men in black. MIB ambient occlusion. Here we go. So what are we going to do is we're going to create material override. And we got our exist-- it's where? I don't see it. Hm. Create new material override. And-- I think it's out of my screen. So no worries. We can just right-click and-- still not in there. That's weird. We'll go on back to our hypershade. Hm. See? Somehow it is working. So back to our MIB. Ambient occlusion. Oh. I think I know what I'm doing wrong. I have to plug this in into a shader. Sorry, guys. Just, sometimes I just forgot how to stuff. So I'm going to create a simple surface shader. Surface shader. Here we go. Yeah. I'm sorry, guys. Just forgot how to do some stuff. Because I'm using too many applications to do my official effects with. And then sometimes you forget stuff. And we go into MIB, ambient occlusion. And we're gonna set our samples to something like 32. And now we can go to our overrides and create out a surface shader, which is our ambient occlusion. And let's render this out. And we've got our ambient occlusion, which is working because we are rendering with Fury And we are rendering with mental ray. And make sure your ambient occlusion is turned on in your features. And I'm going to my ambient occlusion and I'm going to switch my dark and my bright. I'm going to show you the little lesson why I'm doing that. Here we've got our ambient occlusion. And my samples are really low. So what I'm going to do is, in my passes, my quality, I'm going to adapt the sampling and set it to something like 2. That will help it. And let's render this again. Let's also kill our camera. Our image plane. Just go to your image plane-- sorry. My screen is so small. I can't see anything. And, yeah. Go to your create image plane. Oh, I'm sorry. I did the wrong one. Go back. Set it to none. Go to my image plane, set this to none. So you should have only black and white. Nope. We don't have that. So-- I think I saw-- there. Let's see this. Yep. As you can see, we see only our white and our black. And so we can just mask this. And as you see, we've got our weird edges. So I'm just going to increase the size of it. And now it should be gone. Yeah. So we got our nice shadow ambient occlusion. We don't need shadow direction because we don't have it because overcast day. So let's render this out. This is my AO and this is my master. Let's render this out too and see how this looks. Yeah. This is looking nice. We've got a nice highlight. We're going to hide our selection. And you should only have our ball. Let's render this out. And import this. And I'll see you in the next lesson.