Maya和AE镜头跟踪和合成原理教程 Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects

由Digital Tutors 公司最新出品的Digital Tutors Match Moving and Compositing Pipeline in Maya 2011 and After Effects教程，Maya2011和AE CS4镜头跟踪和合成原理教程。适用于电影摄影界、电视台、广告界、摄影界、音乐MTV应用等。

教程共76个章节内容，此提供前10章节的内容，后面的教程将陆续补上，请大家关注。

教程所使用的软件：Maya 2011, After Effects CS4

在这一系列的教程中，我们将学习如何采取一些画面和移动整个MatchMover到Maya里，对管道建立一个完整的镜头。透过整个管线，我们将能够学习，每个应用程序之间和内部的具体问题，并提出有关建议和技巧

In this series of lessons we'll learn how to take some footage and move it through the entire MatchMover to Maya to After Effects pipeline to create a finished shot. By going through the entire pipeline, we will be able to learn about specific issues and tips and tricks while moving between and inside each application.

We'll begin this project by solving four of our shots in MatchMover and combining them in Maya into a cohesive 3d scene. Then we'll create our last camera in Maya and match it. Once all our camera are set-up, we'll learn how to model our object, create dynamics, animate, texture and render our scene. We'll then jump into After Effects to do some color treatment on our backgrounds and then composite our layers together. Now, this is a long project that will take some time to complete. If you get stuck or have any questions, please join our forums and ask. We check the forums often and have a very active and helpful community.

1. Introduction and Project Overview 3. Creating a plan to keep our shots consistent for Maya 5. Manually tracking shot three 7. Creating the coordinate system for shot four 9. Integrating our various matchmoves into one scene 11. Creating low-quality previews in Composite for use in Maya 13. Hand-matching a camera inside Maya 15. Constraining a preview camera to move with our shots 17. Modeling the pyramid asset 19. Modeling the interior of the pyramid 21. Animating the second shot - Pyramid opens 23. Animating the emitters in sync with the doors opening 25. Keeping our nParticles in the pyramid and creating a vortex 27. Animating the goals on and off to create the transitions 29. Caching our particles and instancing geometry 31. Adding direct lighting sources 33. Using projection techniques to vary particle color by distance 35. Animating the particle ramp and beginning our table shader 37. Projecting our reflection map onto our geometry 39. Changing our Ambient Occlusion pass for the best results 41. Rendering with multiple cameras and fixing the preview cam 43. Creating a layer to output a particle matte pass 45. Doing final checks on render settings and batch rendering 47. Color correcting our shots for consistency in After Effects 49. Fixing shot 3 with color correction and Keying effects 51. Tracking the table and beginning the color correction in shot 5 53. Setting up our project and using EXtractoR effects 55. Combining passes to create a proper foreground alpha 57. Adding the reflection to our background 59. Lightwrapping and blurring to composite with background 61. Adding DOF using Lens blur and using Minimax to fix edges 63. Fixing the background ambient occlusion and the blurred mask 65. Creating an expansive ground shadow using existing images 67. Using the particle matte to color correct our particles 69. Converting Shot 2 to Shot 3 and fixing various issues 71. Converting Shot 3 to Shot 4 and fixing depth blurs 73. Converting shot 4 to shot 5 and fixing alpha issues 75. Making last minute color correction tweaks and fixing mattes

2. Examining the shots and the footage 4. Manually tracking shot two 6. Manually tracking shot four 8. Manually tracking shot five 10. Continuing to integrate our shots together in Maya 12. Offsetting our cameras and image planes to play correctly 14. Matching the table orientation on shot 1 cam 16. Testing our matchmove inside Maya and fixing any issues 18. Extruding and Beveling our pyramid 20. Animating the first shot - Pyramid sliding across the table 22. Creating emitters for our nParticles 24. Adding Newton and Drag forces to draw our particles into the air 26. Creating the goal models for our particles 28. Using a Gravity force to create falling particles 30. Bringing in our HDR image for indirect lighting 32. Creating a material for our pyramid 34. Animating the particle projection to stay with our particles 36. Creating a clean plate and reflection map for shot 1 38. Setting up basic render passes and layers 40. Choosing the file type and frame buffer for compositing 42. Overriding render layers to render each camera separately 44. Creating the reflection height shader and pass 46. Dealing with mental ray® 'out of memory' errors 48. Using the Exposure and Curves Effects to CC shot 2 50. Reusing color correction effects to save time on shot 4 52. Using a luma keyer to finish shot 5 54. Combining our basic color passes and precomping 56. Using our Clean Plate to fix the shot 1 background 58. Cutting out the reflection and combining it correctly 60. Adding AO to the background and masking the foreground 62. Adding motion blur using our motion vector pass with RSMB 64. Using Keying techniques to fix depth in shot 2 66. Removing the visible markers using our own setup 68. Adding shot 2 motion blur and fixing our blurs to finish shot 2 70. Cleaning the background with masking and layering techniques 72. Using the Tracker to remove our Markers 74. Fixing the reflections by manually masking our layers 76. Removing the shadow in shot 3 and viewing our final shots

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