If you wish to follow along, then please ensure that you have Nuke and Maya installed. The second half will be conducted in Nuke and Maya. 3DE has internal solution for this.but we will look at a more robust pipeline. We will look at the whole pipeline! Calculating the distortion, exporting what we need and running it through external software. Why spend this time on this when we can accurately render directly from 3DE? This time can be spent on get through more shots! These renders can be used on your reel!Ĭlass 5: Handling lens distortion and overscan.
It is so often the case that so much time is wasted by: exporting the track > rendering in 3D software > compositing.
In the studio, every track needs to be reviewed in daily sessions or screenings by your CG supervisor. In this example we will look at object tracking a moving motorcycle and achieving really clean animation which is vital for the wider CG process.Ĭlass 4: Rendering dailies very quickly directly from 3DE. This technique provides super accurate results for all kinds of object tracks. This is a really impressive technique that will make you stand out as someone who really understands the intricate logic behind this complex software.Ĭlass 3: Using reference images to directly affect object tracks. We can trick 3DE into thinking that we are working with a dynamic lens, when in reality we are actually reverse engineering the track to create a fixed focal length camera move.
We look into a typical problem, where only a couple of markers were used during the shoot but we require a full 3D camera move. This technique will also prove invaluable for markerless 3D screen placements.Ĭlass 2: Tricking the calculation to solve impossible shots.
We use simple python to create a free moving 3D object track to add a tablet device to a shot - when no tracking markers were used. Philip is currently working as a 3D artist at The Mill London and in this course is looking to build on your skills as a tracking artist.Ĭlass 1: Utilizing python scripts for markerless object tracks. During his career, Philip has worked in mainly films and commercials, along with training artists around the world. Philip Maddock is an established 3DE trainer who is once again delivering an in-depth course, demonstrating invaluable techniques in this industry leading software. We will look at techniques such as using straightforward python to help out when there is little to track, along with tricking the software into giving us great results when conventional approaches fail and constraining our results to the correct movement types. With Nick Marshall, he was an instructor for NUK307 Advanced Matte Painting course, and he was instructor for DMP201.This course, taught by Philip Maddock, will show you amazing tips and tricks to power through your shots when the deadline is looming. He's now working as Lead Environment Artist, and is currently involved in the next Ridley Scott project, the book of Exodus. His credits include a lot of very various projects, from Bourne Ultimatum, Quantum of Solace, Tree of Life, or Love in the time of Cholera, to Thor - the Dark World, Hellboy 2, Total Recall or Dredd.
Prof Ludovic Iochem is a Digital Matte Artist - Environment Artist working at Double Negative, London.
We'll see how to work on details, lighting, composition, grading, how to guide the eye through the image, how to mix different sources and finish with a high standard establishing shot. The them is going to be a post apocalyptic city, destroyed and lost in the sand of a desert.
In this new DMP course, Ludo will focus on the painting and will show you how to push the work to a final grade. Video сourse: FXPHD – DMP207 – Digital Matte Painting: Lost Desert City