NUKE影视特效合成之僵尸启示录视频教程

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摘要

NUKE影视特效合成之僵尸启示录视频教程 NUK215 NUKE Zombie Apocalypse 360云下载

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教程中文名称:NUKE影视特效合成之僵尸启示录视频教程
教程英文名称:FXPHD NUK215 NUKE Zombie Apocalypse
教程出品机构:FXPHD
教程时长:8小时40分
教程格式:MP4 附工程源文件
教程使用软件:NukeX 6.3, Ocula, Maya, PFtrack
教程语言:英语

FXPHD NUK215 NUKE Zombie Apocalypse
Taught by Daniel Smith, this course is an intermediate level class that builds and adds to your compositing tool set. We will be using at NukeX 6.3 and using its new tools like the advanced particle system, warpers, denoise, and planar tracker. We will also use Ocula, Maya, and PFtrack to augment NUKE’s powerful feature set.
Everything in our class will utilize concepts and techniques that are necessary for the demanding workload of stereoscopic compositing. Stereo only adds to the complexity of a shot. These techniques are not only applicable to 2D comps but knowledge here will help you improve your 2D comps as well. Every 3D comp must have two 2D comps to complete. Our footage will come from many sources. From high end SI2ks to GoPro 3D rigs we will produce many dynamic shots that are the bread and butter of visual effects work. We will use both native stereoscopic footage and 2D footage that will be post converted.
This is a great class for both stereo and non-stereo visual effects work.
Class syllabus:
Class 1: Desolate City. Part 1 – Prep and clean up work. We take a stereo native shot that was done on a mirror rig, and use Ocula to conform and fix complex stereo flaws in the images geometry, color, and polarization differences.
Class 2: Desolate City. Part 2 – Paint and rig removal. Using 3D tracking, projection, and paint we clean up our stereo plate. We use Nuke to remove unwanted reflections, people who walked though the shot that do not belong, and camera equipment left in frame. These techniques are often used when a set cannot be 100% closed and you need to remove people who are watching the production and standing where they do not belong.
Class 3: Class 3: Desolate City. Part 3 – We take our new cleaned plate and track it in PFtrack 2011, do a sky replacement, add a burning car, and start exploring a final look.
Class 4: Desolate City. Part 4 – We final our shot by adding zombies! We take a close look at matching shadows, black points, and colors to integrate the horde of hungry flesh eaters. We’ll add an infected zone sign, create a new reflections, add more atmosphere, and finalize our shot.
Class 5: Zombie Attack! Part 1 – In this class we take footage of an actor attacking a zombie. We will do green screen keying, integration, and extending a stand-in prop into a CG metal pipe.
Class 6: Zombie Attack! Part 2 – We add Nuke particle system blood spray. Use the spline warper to add impact, and clean up our shot and make it final.
Class 7: Digital Makeup. Part 1 – Face replacement makeup. We will take footage of our actor and plan out the make up and do a rough composite, getting the shot ready for tracking. We will be mixing different camera interaxial settings and re-converging the elements to fit in 2D and 3D space. We will talk about what parts will need to be replaced and agumented and plan the out the next steps.
Class 8: Digital Makeup. Part 2 – Eye replacements. We will also look at techniques to replace the eyes of our actor with a digital full ocular contact lens. Eyes are the windows to the soul and special attention must be paid attention to get this effect right.
Class 9: Digital Makeup. Part 3 – Bruises and blood. We will track a face using PFtrack, remove tracking markers, and add digital makeup. Bruises, blood and burns will be added by unwrapping the face geometry UV’s adding the effects and remapping and generating layers for the final composite.
Class 10: Digital Makeup. Part 4 – Subtractive prosthetics. After adding our digital makeup, we will now remove a chunk of the persons head and reveal the background behind. We will need to create a clean plate, new geometry to attach to our track and render and blend it into the edges. We also reuse parts of ouor comp to craete a depth matte to convert our 2D element into 3D for the final stereoscopic composite.


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