Compositing 3D into Video in Maya and Toxik
In this series of lessons we'll learn how to take the output from a motion tracker app into Maya, import a 3d model to light and render then jump into Toxik to composite it with our original footage. Software required: Maya 2010 and Toxik 2010 and up for project files.
What you'll learn
In this series of lessons we'll learn how to take the output from a motion tracker app into Maya, import a 3d model to light and render then jump into Toxik to composite it with our original footage. We'll begin this project by setting up our motion tracked scene by adding the original footage and aligning everything to make working easier. We'll then bring in our 3d object and learn how to place it in our scene. We'll then learn how to create ground geometry and match the lighting in our original shot. We'll then setup our scene with multiple render passes and layers to make compositing much easier. After we render, we'll jump into Toxik and learn about such topics as shadow matching, color matte usage and various techniques to match our 3d render with our live action back-plate. The end result of this course will be a final color corrected shot of our 3d object in real life. Software required: Maya 2010 and Toxik 2010 and up for project files.
Table of contents
- Setting Our Image Plane to Test Our Tracked Point Cloud 5m
- Locking Our Camera and Locators to the Grid 5m
- Importing Our Object and Integrating It into the Scene 5m
- Creating Ground Plane Geometry to Cast Shadows On 7m
- Bringing in Our HDR Environment and Matching Lighting 10m
- Extending Our Ground Plane and Adding a Curb 8m
- Setting up Our Basic Color Layer and Passes 7m
- Creating a Ground and Object Ambient Occlusion Layer 9m
- Building Our Two Shadow Render Layers for Control 7m
- Creating a Color Matte Layer to Capture Different Pieces 7m
- Creating a Motion Vector Layer and Outputting It Correctly 4m
- Making Final Changes to Our Render Settings and Rendering 10m
- Importing Our Footage and Organizing Our Images 6m
- Matching Our Footage Shadows Using Our Shadow Mattes 5m
- Adding Shadows to the Sign Using Our Ground Tools 3m
- Applying Ambient Occlusion with Color Correction Techniques 5m
- Compositing Our Sign Color Passes 3m
- Using the Color Matte Pass to Tweak the Sign 3m
- Color Correcting the Legs into the Right Hue Range 4m
- Color Correcting the Rusty Base 3m
- Fixing the Sandbags by Adding Noise and Heavy Color Correcting 8m
- Using Our Motion Vectors to Add Motion Blur 8m
- Creating a Film Look and Rendering Our Final Sequence 4m
About the author
Along with creating and recording training, he also used to manage the support team and work closely with the production development team at Digital-Tutors, now a Pluralsight company. He began his career working freelance and quickly realized that he wanted to find a company where he could use his talents to help people succeed in the CG industry. Chris has likely watched more Pluralsight creative training than anyone on the planet, and its evidenced by his Einstein-sized brain and encyclopedic... more