This video was developed for our current client based on customer demand. cmiVFX is dedicated to showing similar project solutions across multiple software packages. We know from experience, that artists must be flexible about the software packages that they use in order to stay competitive in the industry. If your or your team needs to migrate from one software package to another, cmiVFX will have a training solution for you. 3D Matte Painting Extractions are a now common process in the visual effects industry. The technique for matte paintings and 3d extraction have been around for years, but normally found in a 3d animation package like Maya, XSI, or Cinema 4D. As usual, we show several different methods for achieving your goals so that you can apply your learning to your own personal projects. We included a 2k matte painting with a solid plate and in 20 different layers to assist you with the time it takes to prepare your materials for the composites. There is no doubt about it, we created the perfect environment and digital assets to get you into this project no matter what path you decide.
Sneak Peak: We allow you to take a brief look at all your options with 3D compositing before we mix a hybrid of these methodologies in the final composite of this matte painting series. Preplan your attack based on this initial demonstration.
For the last few years, there has been a popular "Buzz Word" going around the FX industry. FBX, or FilmBox file format, is a common 3d geometry format used by most of the popular 3D animation and Compositing software applications. With the advent of proper 3d tools inside of NUKE, artist's have the ability to import modeled geometry and camera data from there 3D animation programs. This allows for congruent camera animations and projection mapping inside of NUKE while allowing for the ability of additional compositing and color correction at this level of the production pipeline. Learn how to decipher when FBX is the right option for your composite.
When creating a full 3d scene composite, it is important to create a workflow structure and scene scale for all your compositing elements. When mixing textured objects and projections, there are several workarounds that you will need to know that you cant learn from reading the user manual. Once you starting building your project with the right measurements, "All the bricks will just fall into place".
Learn how to cope with textures that were not designed for projections. Shallow angles, deep geometry, and texture distortion will nearly always propose a problem for you unless you know the proper tricks. We show you a new way to "Get Around" these types of roadblocks in your workflow, and maintain a better camera path render then traditional FBX import methods.
When you work with dozens of high resolution textures containing alphas, sometimes things can slow down a bit. We show you some super easy tricks that will save you a lot of time during a scene setup and help optimize potential render times.
When working with projections, and while trying to maintain proper texture distortion, you might find yourself in need of procedural distortion to get the look you need from the render camera. We show you how to easily add deformations to help bring the odd angle of a 2.5D texture to a reasonable 3D surface texture.
We will show you some of the fastest way to manage large numbers of animation channels inside of NUKE. This process could be a time consuming process for entry level and intermediate artists. However, this video will show you some very simple techniques to rough out large amounts of animation channels before final tweaks are needed.
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