We’ll begin this project by learning the basics of using trackers to speed up the rotoscoping process by removing camera jitter, translation, rotation and scaling. We’ll then dive into our main project where we will use a combination of trackers, roto nodes and animation to create a clean mask for our foreground actor's face and hand. We’ll learn many techniques to speed up our rotoscoping workflow and how we can use animation principles to create solid movement.

We will learn how to deal with issues importing our passes and how to create a missing pass. From there we will learn the basic shuffle and compositing techniques, along with some novel uses of various passes to enhance our composite. We will color correct the foreground and background to match. To ground the vehicle we will create particle effects in NUKEX. Finally we will finish the shot with post effects like flares, lens reflections, lens distortion, blooms, grain, etc. In the end we will have our completed shot in NUKE.

Throughout this tutorial we are going to talk about the core feaures of RealFlow. Starting with the basics, we'll discuss the fundamental parameters of a standard SPH system as well as looking at the Hybrido solver. We'll also cover some meshing techniques using the RenderKit particle mesher to avoid flickering issues. Then we'll look at how to render our mesh in V-Ray for Maya and finally how to composite our passes in NUKE. After completing this tutorial, we'll have a much better understanding of the entire process to make a realistic and believable fluid.

Some of these tips will be obvious, like using proxies and the region of interest to speed up viewer performance. Others will be a bit more complex like building an expensive node disable-enable expression control system tied into our write nodes using Python commands. We'll also learn how most 3D applications create EXR files and ways we can increase performance by re-rendering them out of NUKE in its' preferred format. Finally we'll look at a cheap way to improve our motion blur from NUKE's 3D system using a combination of samples and vector blurs.

We're going to be covering many topics, such as why we break Maya scenes into layers, getting the most information out of Maya for high dynamic range composites and how to process EXRs for much faster interaction in NUKE. From there we'll examine some render pass and layer workflows that will eliminate errors and give us much more flexibility in NUKE. Finally we'll jump completely into NUKE and look at some compositing techniques for CG renders and finally unravel the proper premultiply workflow.

These video lessons will introduce a compositing workflow that emphasizes efficiency. We'll look at a variety of color correction methods, depth and height-based haze, and faked camera effects such as depth of field and motion blur. Throughout, we'll develop a visual style for our comp that will be easy to replicate and re-use for later shots.

We’ll begin this project by jumping into the new features only in NUKEX including the all new 3d particle system, which allows for new effects like rain, snow, fog or fire. From there, we will use the new Planar tracker, also only in NUKEX to track a planar surface that leaves the frame. Finally we'll learn how to use the new Denoise node in NUKEX to remove noise while preserving an incredible amount of detail. From there, we will dive into the NUKE features like the new Spline and Grid Warp nodes and the new Audio Read node. Finally we'll learn how to speed up our workflow tremendously with user presets and toolsets. We'll end the tutorial with a look at the new 3d displacement tessellation features.

We'll begin the tutorial by solving a 3D camera with the NUKEX camera tracker. Then we'll make the 3D scene more human readable and examine the card workflow. Then we'll use Photoshop to create a clean-plate of our primary foreground element. Then we'll learn techniques for matching a card to our 3d footage. For here we will repeat the process a number of times for the rest of the foreground sign, the background sign and even the walls. Along the way we will encounter issues and examine ways to fix or get around these common problems. We'll finish the tutorial with a shot that has the object completely removed.

We’ll begin this tutorial by learning about the card node in NUKE, and setting up the card to correctly have lens distortion, fit our lens, and set-up the initial node networks for faster duplication. We'll then connect the rest of our sky cards and use some math to make a rough placement. From there, we will refine the rotations and placement to hide as much of the seams as possible. We'll then tie all the cards together into an axis so we can control the entire sky using a single transform. After that, we'll match our sun placement, color correct our sky and render it separately to use z-blending to hide our seams. Finally, we'll learn how to fix issues with our tiles using NUKE and Photoshop, then do a few final compositing tricks and render our sky sequence.

We have our usual transform node, but we also have nodes that let us change the bounding box, distort our images and even change our camera's movement. There are also several nodes that interact with the 3D system, including a Card3D node that lets us skip setting up a 3D scene and gives us direct access to 3D cards and a SphericalTransform node which is very helpful when converting between different types of panoramic image types. We can also quickly and easily convert 2D position data into 3D space, or vice-versa by using the PointsTo3D node or the Reconcile 3D node. Along with all of these nodes, we also cover properties found in many nodes in NUKE; such as motion blur, 3D snap, and the filtering options.

We will begin this tutorial 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 NUKE tutorial by using distortion and blurs to create an ending for our infiltrator shot.

We will begin the tutorials by learning the fastest and best way to key, which is shooting a clean plate. We will then learn how to create a garbage mask for our key, and modify the IBK Gizmo controls to pull the best alpha. The IBK node usually leaves some holes in our alpha, so we will then learn how to create a core matte or inner key using Keylight to fill in our holes and create a solid alpha. We will then learn about the background integration controls of the IBK Gizmo, and how to get around some common issues. We will then learn how to automatically generate a clean plate using the IBK color gizmo, and how to create the best alpha when we have no clean plate. We will then finish the tutorials by learning how to keep just our alpha, reduce our noise, and do manual spill suppression outside the IBK gizmo.

We will begin the tutorials by importing our footage into NUKE and analyzing the job ahead of us. Then we will create garbage masks to break apart our person into manageable pieces. We will then add Keylight effects to our layers to create an initial key. After that, we will analyze the best way to remove noise on each layer. Then we will fill in our alpha by creating a core matte. Finally we will focus on the hair and all the detailed roto and keying work involved. We will complete the tutorials by doing some heavy-duty rotoscoping work on the bottle.

We'll begin the tutorials by importing our background plate and creating the text we'll integrate. Then we'll track the footage and attach our text. We'll then learn how to combine various nodes to make our text look more three dimensional. Then we'll take elements from our background and layer them into our text to create the illusion that the text is in the scene. We'll finish by doing a quick color correction to complete our shot!

We'll begin this project by learning what 2.5D relighting is, how we need a normals and point position pass from our 3D application, and the limitations of relighting in NUKE. We'll then learn how to use the un-supported ReLight node available in newer versions of NUKE, and how to connect all the passes together to make it work. We'll then learn a few techniques to get the most out of the relight node and how to use multiple relight nodes together. We will finish by taking a look at various methods of getting our image passes out of Maya and Softimage. By the end of this course, you should be able to begin experimenting with relighting in NUKE using your own projects.

We'll begin by taking a look at what is depth-based compositing or layering and why we would want to use it. Then we'll learn about some of the downsides of using this technique. We'll then dive in to NUKE and create a matte for our foreground layer using it's depth map and the background depth map. We'll then learn how to work with depth maps including combining maps from different scene scales, using depth-based layering to fix interpenetration issues and making depth maps human readable and error-free.

We'll begin this project by learning about NUKE's interpretation and implementation of disparity maps. Then we'll dive right in and learn the mathematical relationship between depth and disparity maps and learn how to offset and multiply our depth into a pixel offset value and shuffle that value into the disparity channels. With our disparity map we will be able to use the advanced reconverge features, as well as automatically place any node that has a position or translate property from one view to the other. We'll finish by learning how to use our disparity values to automatically update stereo offset using expressions.

We'll begin this project by learning how to set-up our project for stereo work and the basic stereo workflows. We'll then learn about the stereo features built into the Read and Write nodes which make is easier to work with stereo image pairs. We'll then learn how to edit our stereo images in NUKE and how to edit only part of the stereo pair. Finally, we'll go through an entire practical application of using the RotoPaint tools to fix our stereo images. During this we'll learn how and when we can re-use data from the left to the right side, and how to actually apply this in NUKE. We'll finish by learning how to use the ReConverge tool to change our screen depth.

We'll begin this project by importing our elements and tracking various features of the face. Once we have a base of tracking data to work off of, we'll learn the basic math terms and ideas that we will use to translate our 2D tracker data into 3D rotation. We'll then learn how to take our mathematical equation, and translate it into an expression NUKE understands. Once we have our rotation expressions working, we'll finish our 2d elements using a variety of color correction, masking and animation techniques. Then we'll combine all our nodes using compositing math to correctly mix everything together.

We'll begin this project by learning the basics of using trackers to speed up the rotoscoping process by removing camera jitter, translation, rotation and scaling. We'll then dive into our main project where we will use a combination of tracking, stabilizing, luminance keying and Bezier shape animation to create a clean mask for our foreground actor. We'll learn how each of these different methods can be used to speed up our rotoscoping workflow.

We'll begin this course by learning how we can use the Merge node with a multi-channel pipeline. We'll then learn how we can isolate nodes such as color correct to only work on a single channel. After we merge our basic passes, we'll do some basic color correcting and masking. At this point, we'll learn how to use the Backdrop and Dot nodes to organize our node tree. After that, we'll add in the final passes and composite our render on top of a photograph while keeping our shadow. We'll then make final tweaks to our image and add a light wrap, erode and grade node to make our two layers fit together better. This series of lessons will illustrate the basics of compositing a 3D render using the channel workflow inside of NUKE. For further information on creating and working with channels, check out our 'Introduction to Channels in NUKE' course.