'Infiltrator' Production Pipeline Volume 7: Compositing in NUKE
In this NUKE tutorial we will learn how to use NUKE to re-assemble our Maya render passes, integrate them with our background plates and add some special effects. Software required: NUKE 6.2 and up.
What you'll learn
In this NUKE tutorial we will learn how to use NUKE to re-assemble our Maya render passes, integrate them with our background plates and add some special effects. Using NUKE to composite gives us an incredible amount of creative control over the final look of our shot. 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. Software required: NUKE 6.2 and up.
Table of contents
- Splitting the Maya Renders into Intelligent Sets for Speed 8m
- Importing and Chaining Together the Various Passes 7m
- Using Merges and Color-corrects to Recreate the Beauty Pass 10m
- Formatting the Background and Cloning the AO and Shadows 7m
- Using an IBK System to Begin Cleaning the Background 6m
- Creating a Four-point Track to Begin Rotoscoping Our Background 11m
- Using a Cornerpin to Help Us Rotoscoping the Hole 11m
- Copying a Grained Black Constant to Fill the Hole 8m
- Using the Hole Matte to Fix the Ambient Occlusion Issues 6m
- Using Our Motion to VectorBlur the Foreground Elements 8m
- Using Our Depth to ZBlur Our Foreground Elements 9m
- Animating the ZBlur Node to Match Our Camera Focus 7m
- Hue-shifting Our Spider's Colors Using the ID Pass 8m
- Using a Directional Blur to Create a Laser Scanning Effect 8m
- Compositing and Animating the Effect to Create a Blow-out 11m
- Color-correcting Our Foreground to Match the Background 7m
- Creating a Stylized Color Correction on the Composition 7m
- Adding a Blur, Grain, and Lightwrap to the Foreground 7m
- Correcting the Edge Sharpness by Fixing Our Alpha Channel 6m
- Creating a Different Vignette Effect and Fixing the Laser Lightwrap 8m
- Using STMap to Move and Shift Our Pixels Powerfully 8m
- Creating TV Line Offset Effect Using STMap and Checkerboard 9m
- Using Expressions to Animate Our TV Lines Correctly 11m
- Finishing the TV Line Effect at the Beginning of Our Sequence 11m
- Creating a Glowing Lines Effect to Start the Final Distortion 8m
- Using a Retime Node to Extend Our Ending Sequence 6m
- Animating Our TV Lines Effect at the End of the Sequence 7m
- Using Noise and Color Correction to Create a Film Burn Effect 7m
- Animating and Finishing Our Film Burn Effect 11m
- Isolating Our Character and Distorting It on Our Terms 6m
- Using Noise to Create Static Black-and-white Flickering 5m
- Adding Chromatic Aberration to Our Scene 5m
- Cropping Our Blurs and Rendering Our Scene 7m
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