Digital Tutors – Advanced Compositing Workflows with Maya and After Effects
English | Size: 1.31 GB
In this series of lessons, we will be taking you through the process of rendering your Maya scene into multiple passes, and using some advanced techniques for compositing these passes using Toxik. We will dedicate the first portion of this course to using Render Passes in Maya to separate various elements of our scene at render time. We’ll use mental ray’s render passes, contribution maps, custom framebuffers, and render layers to create the necessary render passes for our scene. In the second portion of this course we will begin with some quick compositing similar to our Compositing 3D Renders in After Effects course, but we will quickly get into more advanced topics such as basic and advanced Depth-of-Field, Proxies, spot paint fixing and chromatic aberration.
Lesson Outline 1. Introduction and Project Overview 2. Preparing Maya scene for multi-pass rendering 3. Creating Contribution Maps for multi-pass rendering 4. Setting up render passes in mental ray 5. Using Custom Color Buffers to render specialized passes 6. Creating new Render Layers and using Layer Overrides 7. Importing our render passes and creating Proxies 8. Using Blending Modes to composite our ant 9. Color Correcting various passes with effects and masks 10. Creating a Lightwrap to tie the Foreground to the Background 11. Tweaking our Matte to Remove a Black Outline 12. Painting our Matte image to fix issues with the feet 13. Setting up a Basic Depth-of-Field effect using the Depth pass and Color Correct 14. Adding to our Depth-of-Field with another Blur Effect 15. Adding Depth-of-Field to the background 16. Fixing haloing by extending the Depth with a basic Minimax 17. Advanced Minimax Layering to correctly extend the Depth 18. Using an Expression to simplify the Minimax layering 19. Fixing the depth matte and the ant matte to remove DOF errors 20. Adding Chromatic Aberration to our image 21. Adding and Tweaking Grain for that final level of detail
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