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COMPOSITING WORK
SCAD: VSFX 270 | COMPOSITING
COMPLETED SPRING 2021
DAY FOR NIGHT
ORGINAL PLATE

FINAL

ALPHA

Take an existing Day Time image and create a Night Time version through color adjustments and additional lighting details. Additionally a sky replacement will be necessary to sell the night time Adjustment.
I had experience little experience with NukeX before this class, but I did learn a lot about keying and understanding more about creating Alphas. I do have monitor issues comparing color grading between 3 different computers: 1 with low contrast yellow hue setting, high contrast laptop, and a less blue light tablet monitor.
GREEN SCREEN KEYING
FINAL COMPOSITE
ORGINAL PLATE

KEYED ALPHA

Create a well integrated composite using live action plates, for both the Foreground Element and Background Element. The final shot should last between 2 and 5 seconds
The green screen keying projection involved taking a green screen plate, despilling the background, extracting the alpha of the cat, and then involved multiple color grading passes for the cat and the shadows. There are 3 shadows in the composite because the background plate I chose had a light coming from above, the left, and the right.
NUKE PROJECTION
Take an existing 2D photograph and create a 3D projection set up in Nuke to add depth and create parallax. Students are required to create multiple projection set ups from the same image and will animate a camera moving through the scene to give the illusion movement through a 3D scene
This projection is made using cards and displacement was interesting to learn. There are 8 cards in the scene with a background plate. The purpose of this project is to simulate parallax occlusion from 2D images.
It is not a technique I would use to create mountains from 2D photos. Being a 3D artist, I would have created a model from a projection within Maya or somehow use a black and white displacement within Nuke.
MATCH MOVE
Create a well integrated composite using a live action background plate, and CG Foreground Element. e nal shot should last between 2 and 5 seconds. e composite should contain the basic processes demonstrated in class and the course book. e background should be from a moving camera and contain a match move camera for a seamless composite.
POINT CLOUD
![Project4_v02.nk [modified] - NukeX 5_26_](https://static.wixstatic.com/media/ea1c3e_c91b8ce5e6f84856917940ae66fb2a63~mv2.png/v1/fill/w_418,h_220,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/Project4_v02_nk%20%5Bmodified%5D%20-%20NukeX%205_26_.png)
POINT CLOUD GEOMETRY
![Project4_v02.nk [modified] - NukeX 5_26_](https://static.wixstatic.com/media/ea1c3e_1bcf31e0f68749f2b633b50f81c27f46~mv2.png/v1/fill/w_424,h_223,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/Project4_v02_nk%20%5Bmodified%5D%20-%20NukeX%205_26_.png)
MAYA BEAUTY PASS | COLOR GRADED IN MAYA 2020

ORIGINAL PLATE

TRACKING POINTS

GEO + PLATE

The creation of this match move involved tracking a video plate from Pexels. I had to track a more dynamic movement in order to receive a better number of points. I did roto out the mountains to not mess with the point cloud system that is used to bake the Geometry. I added 3 User Tracks to the tracking node to be the origin point and part of the ground plane. Because this was a nature scene with depressions in the land, I couldn't use the running water as reference and instead chose the piece of land to the right.
Not pictured within Maya, I brought the geometry from Nuke into Maya 2020 to line up the tree according to the projection. I then rendered a beauty and shadow pass for the tree with Arnold.
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