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1. Introduction and Project Overview
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3. Creating a plan to keep our shots consistent for Maya
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5. Manually tracking shot three
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7. Creating the coordinate system for shot four
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9. Integrating our various matchmoves into one scene
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11. Creating low-quality previews in Composite for use in Maya
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13. Hand-matching a camera inside Maya
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15. Constraining a preview camera to move with our shots
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17. Modeling the pyramid asset
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19. Modeling the interior of the pyramid
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21. Animating the second shot - Pyramid opens
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23. Animating the emitters in sync with the doors opening
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25. Keeping our nParticles in the pyramid and creating a vortex
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27. Animating the goals on and off to create the transitions
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29. Caching our particles and instancing geometry
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31. Adding direct lighting sources
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33. Using projection techniques to vary particle color by distance
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35. Animating the particle ramp and beginning our table shader
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37. Projecting our reflection map onto our geometry
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39. Changing our Ambient Occlusion pass for the best results
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41. Rendering with multiple cameras and fixing the preview cam
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43. Creating a layer to output a particle matte pass
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45. Doing final checks on render settings and batch rendering
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47. Color correcting our shots for consistency in Nuke
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49. Fixing shot 3 with color correction and Keyer nodes
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51. Using a luma keyer to darken our scene in shot 5
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53. Breaking apart our EXR into passes and setting the colorspace
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55. Combining passes to create a proper foreground alpha
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57. Adding DOF and dilating our pass to fix edge issues
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59. Lightwrapping and blurring to composite with background
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61. Tweaking the reflection and adding AO to the background
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63. Creating an expansive ground shadow using existing images
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65. Painting out the visible markers using RotoPaint
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67. Converting Shot 2 to Shot 3 and editing the read nodes and blurs
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69. RotoPainting markers out of the background
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71. Using RotoPaint to fix background errors
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73. Animating the particle color correction during the fall
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2. Examining the shots and the footage
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4. Manually tracking shot two
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6. Manually tracking shot four
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8. Manually tracking shot five
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10. Continuing to integrate our shots together in Maya
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12. Offsetting our cameras and image planes to play correctly
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14. Matching the table orientation on shot 1 cam
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16. Testing our matchmove inside Maya and fixing any issues
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18. Extruding and Beveling our pyramid
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20. Animating the first shot - Pyramid sliding across the table
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22. Creating emitters for our nParticles
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24. Adding Newton and Drag forces to draw our particles into the air
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26. Creating the goal models for our particles
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28. Using a Gravity force to create falling particles
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30. Bringing in our HDR image for indirect lighting
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32. Creating a material for our pyramid
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34. Animating the particle projection to stay with our particles
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36. Creating a clean plate and reflection map for shot 1
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38. Setting up basic render passes and layers
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40. Choosing the file type and frame buffer for compositing
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42. Overriding render layers to render each camera separately
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44. Creating the reflection height shader and pass
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46. Dealing with mental ray® 'out of memory' errors
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48. Using a ColorLookup and ColorCorrect to push our footage
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50. Reusing color correction nodes to save time on shot 4
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52. Tracking the table and combining keys to finish shot 5
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54. Combining our basic color passes and specularity
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56. Using our Clean Plate to fix shot 1
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58. Adding motion blur using our motion vector pass
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60. Adding the reflection to our background
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62. Using Keying techniques to fix depth in shot 2
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64. Blurring our Depth and Motion Vectors for a soft look
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66. Using the particle matte to color correct our particles
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68. Adding larger ground ambient occluion
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70. Converting Shot 3 to Shot 4 and making color tweaks
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72. Converting shot 4 to shot 5 and fixing alpha issues
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74. RotoPainting markers and viewing the final
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