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Nuke-Mari Workflows

Salah Soltane teaches you match moving in Nuke, modeling in Maya, painting in Mari, and even final compositing. You'll definitely enjoy this course.

Length: 4 Hours 26 Minutes 59 Seconds

Price: $49.95

Preview.

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cmiVFX brings you a brand new training video taught by Salah Soltane. These days we rarely receive plates with fixed cameras, so tracking and match moving have become essential daily tasks. Before we do any further tasks like rig removal, painting, set extensions, or compositing, this course will start by focusing on how to match move a plate. Then we'll be building a scene in NukeX. Then we'll take this course further and we'll learn how to paint in Mari and composite our scene in Nuke. We'll use the 3D data in Nuke to generate some of the missing passes and then we'll take advantage of deep data to generate deep holdouts. This course is from a professional VFX artist's perspective on how on how to use 3D data in Nuke, Maya, and Mari because these days we're seeing that the barrier between VFX and 3D is fading away. For further information, check out our Vimeo teaser trailer and the chapter descriptions that have been provided below. Thanks, and enjoy the video!

Match Moving in Nuke

We'll prepare the plate for match moving (3D tracking) and then we'll create the scene by building the geometry that represents the building, the walls, and the coffee can. We'll learn how to export the geometry from Nuke to Maya using the alembic format and we'll do further cleaning and layout.

Cleaning and Modeling in Maya

Here we'll be importing the geometry that we built in Nuke to Maya, we'll be cleaning the geometry and doing further modeling for the coffee can. Then we'll match the position to the plate and create the rest of the building. We'll export the geometry back into Nuke using the alembic format. Using alembic will prevent problems with FBX exporter like the wrong objects, camera position, and animation, for example.

Painting the Robot in Mari

I have built a simple flying robot for us to use in this course. We'll be starting in Maya by checking the robot and preparing the UVs and the object itself for 3D paint in Mari. Next we'll jump into Mari and have a brief look the robot. You'll learn how to get around Mari as a VFX artist that just needs some simple painting done. Mari has incredibly useful tools that I'll be sharing with you. We'll take a look at Mari's interface and prepare the robot for paint as we go. We'll start by adding the paint base color, some dirt, and various logos on the robot. Then we'll export the robot to the 3D department for rendering. Since I won't be going over rendering in Maya as part of this course, I have already rendered the necessary passes for composite that you'll find in the project files.

Compositing

This course wasn't originally intended to focus on compositing, but I couldn't help but put the scene together for you guys, so I made a quick composite and I went over it, showing couple of the NukeX features along the way. I also showed how to use the 3D data in Nuke to generate some information like the Z depth, and motion vector just in case you had trouble with the passes received from the 3D department. I also went over how to use the awesome "deep holdout" to save you a lot of time and effort instead of rotoscoping or using color masks to as holdouts.

About The Instructor

Salah Soltane started as a video editor for a cable TV channel in Tokyo. He had some knowledge of motion graphics at that time, so he made TV bumpers and logo animations using 3D software and AE. Editing TV shows, music videos, and documentaries sparked his interest to pursue digital compositing and VFX. He then attended Scott Rose institute in Tokyo for studio VFX and 3D, and after graduation he worked as a freelancer for many years for the Japanese and international market. Salah is now a supervisor at Artner CG in Tokyo, and some of his latest work includes titles like, Gachaman 2013 (movie), Garo Zero (TV show), Gouraigan (TV show) Yubikoi (TV show), Kaiki Daisakusen: Mystery File" 2013 (TV show) Spec 2013 Zen no hen (movie), and Spec 2013 Ko no hen (movie) to name a few. Salah's main tasks at work these days are mostly centered around supervision and quality control, but also he is also tasked with a lot of compositing, match moving, rig removal, and matte extraction (keying) work as well. He is a dedicated artist and he has a great deal of experience in the Japanese and international market.

Project Contents

All cmiVFX videos come with all the training materials you can need right from our website. No matter what time of day, your location, or how you're feeling, cmiVFX will be there waiting for you!This video is available today at the cmiVFX Store: www.cmivfx.com

Availability:

Video-on-demand streaming is available through the website to subscribers. In addition, video files are available for download for those who directly purchase individual titles from their cart.

About Sal Sultan

Salah Soltane started as a video editor for a cable TV channel in Tokyo. He had some knowledge of motion graphics at that time, so he made TV bumpers and logo animations using 3D software and AE. Editing TV shows, music videos, and documentaries sparked his interest to pursue digital compositing and VFX. He then attended Scott Rose institute in Tokyo for studio VFX and 3D, and after graduation he worked as a freelancer for many years for the Japanese and international market. Salah is now a supervisor at Artner CG in Tokyo, and some of his latest work includes titles like, Gachaman 2013 (movie), Garo Zero (TV show), Gouraigan (TV show) Yubikoi (TV show), Kaiki Daisakusen: Mystery File" 2013 (TV show) Spec 2013 Zen no hen (movie), and Spec 2013 Ko no hen (movie) to name a few. Salah's main tasks at work these days are mostly centered around supervision and quality control, but also he is also tasked with a lot of compositing, match moving, rig removal, and matte extraction (keying) work as well. He is a dedicated artist and he has a great deal of experience in the Japanese and international market.