We’ll begin this project by creating a procedural dirt shader for our ground cover. Then we'll hop into Photoshop to create a photographic texture for our road. We'll then add some detail using more procedural textures to break up the edges of the road and create a broken concrete feel. From there we will set up a particle system for our tires and create render layers and passes. Finally we will composite our shot using the Maya Precomp feature and Maya Composite. We'll learn how to color correct our passes, add various blurs and composite everything together into an integrated shot.

We will begin this project by manually tracking our sequence in MatchMover and exporting it for use in Maya. We will then take our solved camera into our Maya scene and move our object into place. We will then learn how to capture our 3D environment reflections and create some helpful matte layers. Once we have rendered our Maya sequence, we will learn how to combine all of our images in Composite. We will learn about processing our background footage to capture traveling mattes, as well as many different ways to combine our various mattes to create effects. We will finish by adding a silhouette and color correcting our images.

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 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.

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

We will dedicate the first portion of this course to using Render Passes in Maya to separate various elements of our scene at render time. We'll use mental ray's render passes, contribution maps, custom framebuffers, and render layers to create the necessary render passes for our scene. In the second portion of this course we will begin with some quick compositing similar to our Compositing 3D Renders in Toxik course, but we will quickly get into more advanced topics such as Depth-of-Field, working with HDR, Depth-based compositing and spot paint fixing.

Popular highlights include: Overview of Render Layers; Render Layer Overrides; Material Overrides; Overview of Frame Buffers; Creating Render Passes; Associating Passes with Render Layers; Creating Pass Sets to Organize Render Passes; Building Contribution Maps; Object-centric Contribution Maps; Light-centric Contribution Maps; Rendering Multi-channel EXR Files; Organizing Rendered Passes with Render Tokens; Creating Custom Frame Buffers; Altering Materials' Frame Buffer Contributions; Using SSS Materials with Passes; Utilizing Render Layers and Render Passes Together; Exporting Compositing Data to Toxik.