In this series of lessons we'll learn how to take some footage and move it through the entire MatchMover to Maya to After Effects pipeline to create a finished shot. By going through the entire pipeline, we will be able to learn about specific issues and tips and tricks while moving between and inside each application. We'll begin this project by solving four of our shots in MatchMover and combining them in Maya into a cohesive 3d scene. Then we'll create our last camera in Maya and match it. Once all our camera are set-up, we'll learn how to model our object, create dynamics, animate, texture and render our scene. We'll then jump into After Effects to do some color treatment on our backgrounds and then composite our layers together. Now, this is a long project that will take some time to complete.
Lessons: 1. Introduction and Project Overview 2. Examining the shots and the footage 3. Creating a plan to keep our shots consistent for Maya 4. Manually tracking shot two 5. Manually tracking shot three 6. Manually tracking shot four 7. Creating the coordinate system for shot four 8. Manually tracking shot five 9. Integrating our various matchmoves into one scene 10. Continuing to integrate our shots together in Maya 11. Creating low-quality previews in Composite for use in Maya 12. Offsetting our cameras and image planes to play correctly 13. Hand-matching a camera inside Maya 14. Matching the table orientation on shot 1 cam 15. Constraining a preview camera to move with our shots 16. Testing our matchmove inside Maya and fixing any issues 17. Modeling the pyramid asset 18. Extruding and Beveling our pyramid 19. Modeling the interior of the pyramid 20. Animating the first shot - Pyramid sliding across the table 21. Animating the second shot - Pyramid opens 22. Creating emitters for our nParticles 23. Animating the emitters in sync with the doors opening 24. Adding Newton and Drag forces to draw our particles into the air 25. Keeping our nParticles in the pyramid and creating a vortex 26. Creating the goal models for our particles 27. Animating the goals on and off to create the transitions 28. Using a Gravity force to create falling particles 29. Caching our particles and instancing geometry 30. Bringing in our HDR image for indirect lighting 31. Adding direct lighting sources 32. Creating a material for our pyramid 33. Using projection techniques to vary particle color by distance 34. Animating the particle projection to stay with our particles 35. Animating the particle ramp and beginning our table shader 36. Creating a clean plate and reflection map for shot 1 37. Projecting our reflection map onto our geometry 38. Setting up basic render passes and layers 39. Changing our Ambient Occlusion pass for the best results 40. Choosing the file type and frame buffer for compositing 41. Rendering with multiple cameras and fixing the preview cam 42. Overriding render layers to render each camera separately 43. Creating a layer to output a particle matte pass 44. Creating the reflection height shader and pass 45. Doing final checks on render settings and batch rendering 46. Dealing with mental ray® 'out of memory' errors 47. Color correcting our shots for consistency in After Effects 48. Using the Exposure and Curves Effects to CC shot 2 49. Fixing shot 3 with color correction and Keying effects 50. Reusing color correction effects to save time on shot 4 51. Tracking the table and beginning the color correction in shot 5 52. Using a luma keyer to finish shot 5 53. Setting up our project and using EXtractoR effects 54. Combining our basic color passes and precomping 55. Combining passes to create a proper foreground alpha 56. Using our Clean Plate to fix the shot 1 background 57. Adding the reflection to our background 58. Cutting out the reflection and combining it correctly 59. Lightwrapping and blurring to composite with background 60. Adding AO to the background and masking the foreground 61. Adding DOF using Lens blur and using Minimax to fix edges 62. Adding motion blur using our motion vector pass with RSMB 63. Fixing the background ambient occlusion and the blurred mask 64. Using Keying techniques to fix depth in shot 2 65. Creating an expansive ground shadow using existing images 66. Removing the visible markers using our own setup 67. Using the particle matte to color correct our particles 68. Adding shot 2 motion blur and fixing our blurs to finish shot 2 69. Converting Shot 2 to Shot 3 and fixing various issues 70. Cleaning the background with masking and layering techniques 71. Converting Shot 3 to Shot 4 and fixing depth blurs 72. Using the Tracker to remove our Markers 73. Converting shot 4 to shot 5 and fixing alpha issues 74. Fixing the reflections by manually masking our layers 75. Making last minute color correction tweaks and fixing mattes 76. Removing the shadow in shot 3 and viewing our final shots