《Nuke影视特效合成大师班高级教程》FXPHD NUK305 Project Masterclass The Machine

本教程是由FXPHD机构出品的Nuke影视后期特效合成大师班高级教程，时长：10小时，使用软件：Nuke 6.3。

当今大型电影绝伦的特效，不禁让你要惊叹其合成的逼真与强大！fxphd 教育机构出品的教程,相信大家都知道,都为业界的高端教程。

NUKE是一个获得学院奖(Academy Award)的数码合成软件。已经经过10年的历练，为艺术家们提供了创造具有高质素的相片效果的图像的方法。NUKE无需专门的硬件平台，但却能为艺术家提供组合和操作扫描的照片，视频板以及计算机生成的图像的灵活、有效、节约和全功能的工具。在数码领域，NUKE已被用于近百部影片和数以百计的商业和音乐电视，NUKE具有先进的将最终视觉效果与电影电视的其余部分无缝结合的能力，无论所需应用的视觉效果是什么风格或者有多复杂。

FXPHD NUK305 Project Masterclass The Machine

This course, taught by returning Nuke prof Russell Dodgson is a fully production based course. It is designed to tie in directly with it’s companion course, MYA214: Production-based Lighting and Rendering being taught by Robert Harrington. The class will be dealing with a full vfx sequence shot bespoke for the course. The classes will attack a variety of compositing tasks week by week and will pay attention to how we view a sequence as a whole as well as concentrating on the minutia of each individual shot. One of the courses main goals is to get full understanding of how we should approach the compositing of cg elements, and correctly using renders to rebuild our cg in comp so that we can adjust certain passes without incorrectly corrupting the contribution of others.

Week 1 :
In our opening class we start an overview of what’s to come in the rest of the term, the software we will use and why as well as what our learning goals are. We then take a look at setting up our default render tree using the new toolsets feature of Nuke 6.3. To finish we start roughly blocking out our sequence to get a sense of continuity.

Week 2 :
This week is all about process. We continue from last week by blocking out our bullet hits. We start with a very brief look at Shotgun for project Management followed by a similarly brief look at RV when integrated with Nuke. We then get stuck straight into the work, we go through our key plates and learn how we can use the new Planar Tracker to improve our tracking in both speed and accuracy. Following this we work out the most efficient way to develop our bullet hit timings so they work across multiple shots. To finish up we take this and apply it in different ways to our tracks. Be warned there is a tonne of ground covered in this class, so you are going to be kept busy!

Week 3 :
This week we look at removing blinks from our actor’s performance as he fires a gun. We make use of the new 6.3 spline warp to do this and then move on to look at rebuilding muzzle flashes. This week comes with a lot of homework so clear your diaries.

Week 4 :
This week we take a look at a few different aspects of the project. The main focus is file workflow and how to setup small colour pipelines. We look at how the dpx files for this project have been exported from the original r3d files. We then look at setting up custom viewer looks and generating luta
    

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