[其他] NUK306 - Nuke 项目制作流程NUK306 Production Nuke Finishing

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wang 发表于 2017-10-12 16:28:48
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NUK306 - Nuke 项目制作流程NUK306 Production Nuke Finishing
Production Nuke Finishing

In this advanced level NUKE course, members explore what it takes to truly take a shot to final, from a film visual effects perspective. Professor Alex Fry, fresh off his stint as lead compositor at Animal Logic for The Great Gatsby, works through several scenes of a recent independent project and show advanced techniques for getting great composites in NUKE.

Many artists are under the impression that getting a shot to final relies merely on technical correctness and creative polish. While those are obviously two major factors, an often-overlooked influenced can be the most critical: the client. And by client that could be a paying client or -- at a facility -- the person the artist is working for: a sequence supervisor, vfx supervisor, director, or even the studio. The reality is that finalling a shot isn't really about any particular skill, but rather responding to feedback correctly and giving people up the chain what they want.

Alex works through advanced techniques and knowledge required for compositing, such as utilizing position data and mastering camera techniques. While at the same time shows how to correctly address feedback from reviews over the iterative process of finalling a shot.

As an example, to 'sell' several shots in a recent feature film, Alex built extensive '3D' background elements of vast complexity all inside NUKE. This avoided vast amounts of rendering and yet still provided randomness and structured animation. Alex also has a very extensive background in building complex NUKE Stereo pipelines for large scale productions, including production stereo color management. This extra work allowed for less front end 3D rendering and brought several huge key shots in on time and on budget, with the flexibility to tweak the shots until the end of the show.

Alex had been lucky enough to avoid getting a 'traditional' job for 13 years. Instead he's been able to make a career out making sure mighty orcs, speeding superheroes, tiny plastic men and glitter covered partygoers are looked as perfect as they could be be (even when shaked, defocused, or optically offset). Alex has plied his trade at many shops including RSP, Weta Digital, DrD and is currently a color pipeline supervisor at Animal Logic.
course syllabus
Class 1: Powerful tools: Position maps. To start the term off we jump right in with one of my favorite tools, we circle back on some of these concepts but positional maps really show the power of Nuke as a compositor. Position maps, which I have found extremely powerful, can be relatively new to some compositors. We explain what they are, why they are so powerful, especially in for working in Stereo. We also share tricks for manipulating P maps, using them with projection and positionToPoint..
Class 2: Nuke is a three dimensional compositor. To get the most out of the product you need to understand camera. Both how the real world cameras relate to Nuke's and also the flexibility (and limitations) of Nuke's own cameras. We cover Overscan, Rotational order, film backs and stereo camera model. In particular how camera and camera projections work closely together.
Class 3: Metadata tricks. This week we have some fun working with material were we need to create cameras from EXIF data. In a perfect world all on set data would be provided but often times we need to build back out what happened and complete the metadata jigsaw. This also cover some basic Python tricks and techniques.
Class 4: Working with takes and time and how its different in Nuke. We work with time as a variable: looking at Offsets, Appends and Retiming such as matching to a ref from editorial. It is rare that Nuke artists are not called upon to address timing issues of shots in inside shots, combining multiple takes. This can get confusion and yet is extremely common now from some directors and in some productions.
Class 5: Compositing CG into live action requires more than just matching the black levels and removing edges, we discuss setting up the correct AOVs, mutlipass rendering, correct handling of Matte, patching frames and dealing with issues such as noise, lens distortion and the power of projections over CGI.
Class 6: Depth of Field. One of the great ways to add production value and also sell a shot as real is getting the Depth of Field accurate and matching correctly. From exteriors outside car windows to landscapes beyond windows and just standard compositing work, nothing can give a way a shot as a comp more reliably than an impossible depth of field that mis-matches. I share some really great techniques to getting the DOF right, it seems simple but it is so often finaled incorrectly. You may not know why the shot looks fake, but it will if the DOF is wrong.
Class 7: Colourspace. You cannot professionally finish a shot if you cannot control the color. Color management is vital to have a consistent pipeline, to not loose hours in a major production. We cover 1D luts 3D luts, OCIO, the increasingly important ACES workflow in Nuke and visualising colorspace transformations using positionToPoint.
Class 8: Selling a CG shot. Placing CG in context is often about contact lighting and comping in correct reflections. This week we look at what you can do to sell a shot and place the CG correctly. Sometimes this is not about technical accuracy, even a perfect HDR CG element may seem to float, we explore grounding your work and polishing a comp. This now extends to Deep color and deep compositing, and placing elements correctly in atmospherics.
Class 9: Putting shots up in dailies and how to sell your shots. Further review of submitted comps.
Class 10: Using particle systems in Nuke to simulate low poly models for filling out background scene elements.
完成生产核武器
在这个高级水平的核弹课程中,成员们探索从电影视觉效果的角度来看,真正拍摄一部电影到底要什么。Alex Fry教授,刚刚他作为伟大的盖茨比动物逻辑导致排序,通过最近的一个独立项目的几个场景和表演获得核大复合材料先进技术。
许多艺术家的印象是,获得一个铅球决赛取决于技术的正确性和创造性的波兰。虽然这些显然是两个主要因素,但常常被忽视的影响可能是最关键的:客户机。通过客户端可以支付客户端或在设施--艺术家工作的人:一个序列的主管,视觉特效总监,总监,甚至工作室。现实情况是,擦肩而过一枪真的不是关于任何特定的技能,而是回应反馈正确,给人们他们想要的链。
亚历克斯利用合成技术所需的先进技术和知识,如利用位置数据和掌握相机技术。同时说明了如何正确解决反馈的评论在擦肩而过一枪的迭代过程。
举个例子,在最近的一部专题片中“卖出”了几张照片,亚历克斯在全核范围内构建了大量复杂的3D背景元素。这避免了大量的渲染,但仍然提供了随机性和结构化动画。亚历克斯在大规模生产复杂的核能立体声管道方面也有非常广泛的背景,包括生产立体声色彩管理。这种额外的工作允许较少的前端三维渲染,并带来了一些巨大的关键镜头在时间和预算,灵活的调整,直到结束的镜头。
亚历克斯幸运地得到了13年的“传统”工作。相反,他已经能够制定出确保强大的兽人,职业加速的超级英雄,小塑料人和闪光覆盖的人都看成是完美的因为他们可以(甚至在摇动时,离焦,或光学偏移)。亚历克斯给他的贸易在许多商店包括RSP,维塔数字,DrD目前在动物逻辑的彩色管道主管。
课程提纲
第1类:功能强大的工具:位置映射。启动项我们马上与我最喜欢的一个工具,我们再在这些概念但位置地图真正显示朝核功率合成器。位置的地图,我发现它非常强大,可以对一些较新的排字。我们解释它们是什么,为什么它们如此强大,尤其是在立体声工作中。我们也分享技巧操纵P图,使用投影和positiontopoint ..
2类:核武器是一个三维排序。为了得到最出你需要了解相机产品。这两个真实世界摄像机如何与核武器有关,以及Nuke自己相机的灵活性(和局限性)。我们盖过扫描,旋转,胶片后背和立体摄像机模型。尤其是相机和投影紧密合作。
第3类:元数据技巧。本周我们的工作与材料的一些有趣的是我们需要从EXIF数据创建相机。在一个完美的世界中,所有的集合数据都会被提供,但是我们经常需要重新构建所发生的事情,并完成元数据的拼图。这也涵盖了一些基本的Python技巧和技术。
4类:以时间工作和如何不同的核。我们以时间为变量的工作:看着偏移,追加和时序匹配等从编辑ref。这是罕见的核武器艺术家不被要求解决定时问题的投篮在内部拍摄,结合多种方式。这可能会引起混乱,但现在在一些导演和一些作品中非常普遍。
5类:合成CG真人不仅仅需要匹配的黑色层次和删除的边缘,我们讨论建立正确的自动阀,多航过渲染,正确处理冰铜,修补框架和处理如噪声问题,镜头畸变和投影在CGI的力量。
第6类:景深。增加生产价值的一个很好的方法,也可以像实物一样销售一种方法,就是使景深精确和匹配正确。从车窗外风景之外超越Windows只是标准的合成工作,没有什么可以给一个镜头作为补偿比不可能的景深信息匹配更可靠。我分享一些真正伟大的技术来获得自由的权利,这似乎很简单,但它常常是不正确的意向。你可能不知道为什么镜头看起来很假,但如果是错误的自由度。
7班:Colourspace。你不专业,如果你不能控制颜色完成拍摄。色彩管理对于协调一致的管道至关重要,而不是在主要生产中松散时间。我们盖1d LUTS 3d LUTS,首席信息官办公室,日

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