FXPHD - NUK306 Production Nuke Finishing

FXPHD - NUK306 Production Nuke Finishing

Production Nuke Finishing
完成生产核武器

In this advanced level NUKE course, members explore what it takes to truly take a shot to final, from a film visual effects perspective. Professor Alex Fry, fresh off his stint as lead compositor at Animal Logic for The Great Gatsby, works through several scenes of a recent independent project and show advanced techniques for getting great composites in NUKE.
在这个先进水平核过程，探讨如何才能真正成员拍摄到最后，从电影的视觉效果的角度。亚历克斯教授炒，刚刚他为杰出的盖茨比动物逻辑导致排序，通过最近的一个独立项目的几个场景和表演获得核伟大的复合材料先进技术。

Many artists are under the impression that getting a shot to final relies merely on technical correctness and creative polish. While those are obviously two major factors, an often-overlooked influenced can be the most critical: the client. And by client that could be a paying client or -- at a facility -- the person the artist is working for: a sequence supervisor, vfx supervisor, director, or even the studio. The reality is that finalling a shot isn't really about any particular skill, but rather responding to feedback correctly and giving people up the chain what they want.
许多艺术家都在这样的印象中，获得了一个镜头，最终只依赖于技术的正确性和创造性的抛光。虽然这些都是明显的2个主要因素，一个经常被忽视的影响可以是最关键的：客户。通过客户端可以支付客户端或——在设施——艺术家工作的人：一个序列的主管，视觉特效总监，总监，甚至工作室。现实情况是，擦肩而过一枪不是关于任何特定的技能，而是回应反馈正确，给人们他们想要的链。

Alex works through advanced techniques and knowledge required for compositing, such as utilizing position data and mastering camera techniques. While at the same time shows how to correctly address feedback from reviews over the iterative process of finalling a shot.
亚历克斯的作品通过合成所需的先进技术和知识，如利用位置数据和掌握摄影技术。同时说明了如何正确解决反馈的评论在擦肩而过一枪的迭代过程。

As an example, to 'sell' several shots in a recent feature film, Alex built extensive '3D' background elements of vast complexity all inside NUKE. This avoided vast amounts of rendering and yet still provided randomness and structured animation. Alex also has a very extensive background in building complex NUKE Stereo pipelines for large scale productions, including production stereo color management. This extra work allowed for less front end 3D rendering and brought several huge key shots in on time and on budget, with the flexibility to tweak the shots until the end of the show.
作为一个例子，“出售”几个镜头在最近的电影，亚历克斯建立了广泛的“3D”背景元素的巨大复杂性里面所有的核武器。这避免了大量的渲染，但仍然提供随机性和结构化的动画。亚历克斯也在大规模生产大楼核立体管道非常广泛的背景，包括生产立体色彩管理。这项额外的工作允许更少的前端三维渲染，并带来了一些巨大的关键镜头在时间上和预算，以灵活地调整镜头，直到演出结束。

Alex had been lucky enough to avoid getting a 'traditional' job for 13 years. Instead he's been able to make a career out making sure mighty orcs, speeding superheroes, tiny plastic men and glitter covered partygoers are looked as perfect as they could be be (even when shaked, defocused, or optically offset). Alex has plied his trade at many shops including RSP, Weta Digital, DrD and is currently a color pipeline supervisor at Animal Logic.
亚历克斯幸运地避免了13年的“传统”工作。相反，他已经能够制定出确保强大的兽人，职业加速的超级英雄，小塑料人和闪光覆盖的人都看成是完美的因为他们可以（甚至在摇动时，离焦，或光学偏移）。亚历克斯给他的贸易在许多商店包括RSP，维塔数字，DRD和目前在动物逻辑的彩色管道主管。

course syllabus
课程教学大纲

Class 1: Powerful tools: Position maps. To start the term off we jump right in with one of my favorite tools, we circle back on some of these concepts but positional maps really show the power of Nuke as a compositor. Position maps, which I have found extremely powerful, can be relatively new to some compositors. We explain what they are, why they are so powerful, especially in for working in Stereo. We also share tricks for manipulating P maps, using them with projection and positionToPoint..
课程 1：强大的工具：位置图。启动项我们马上与我最喜欢的一个工具，我们再在这些概念但位置地图真正显示朝核功率合成器。位置的地图，我发现它非常强大，可以对一些较新的排字。我们解释他们是什么，为什么他们是如此强大，特别是在工作在立体声。我们也分享技巧操纵P图，使用投影和positiontopoint ..

Class 2: Nuke is a three dimensional compositor. To get the most out of the product you need to understand camera. Both how the real world cameras relate to Nuke's and also the flexibility (and limitations) of Nuke's own cameras. We cover Overscan, Rotational order, film backs and stereo camera model. In particular how camera and camera projections work closely together.
课程 2：核武器是一三维排序。要获得最不需要的产品，你需要了解相机。如何在现实世界的摄像机与Nuke和灵活性（和限制）核自己的相机。我们盖过扫描，旋转，胶片后背和立体摄像机模型。特别是相机和相机如何紧密结合在一起。

Class 3: Metadata tricks. This week we have some fun working with material were we need to create cameras from EXIF data. In a perfect world all on set data would be provided but often times we need to build back out what happened and complete the metadata jigsaw. This also cover some basic Python tricks and techniques.
课程3：元数据技巧。本周我们的工作与材料的一些有趣的是我们需要从EXIF数据创建相机。在一个完美的世界上所有的设置数据将提供，但往往我们需要建立什么样的发生和完成的元数据拼图。这也涵盖了一些基本的Python技巧和技术。

Class 4: Working with takes and time and how its different in Nuke. We work with time as a variable: looking at Offsets, Appends and Retiming such as matching to a ref from editorial. It is rare that Nuke artists are not called upon to address timing issues of shots in inside shots, combining multiple takes. This can get confusion and yet is extremely common now from some directors and in some productions.
课程4：以时间工作和如何不同的核。我们以时间为变量的工作：看着偏移，追加和时序匹配等从编辑ref。这是核武器的艺术家是不要求解决在镜头拍摄时机问题罕见，结合多以。这可能会变得混乱，但现在是非常常见的一些导演和一些作品。

Class 5: Compositing CG into live action requires more than just matching the black levels and removing edges, we discuss setting up the correct AOVs, mutlipass rendering, correct handling of Matte, patching frames and dealing with issues such as noise, lens distortion and the power of projections over CGI.
课程 5：合成CG真人不仅仅需要匹配的黑色层次和删除的边缘，我们讨论建立正确的自动阀，多航过渲染，正确处理冰铜，修补框架和处理如噪声问题，镜头畸变和投影在CGI的力量。

Class 6: Depth of Field. One of the great ways to add production value and also sell a shot as real is getting the Depth of Field accurate and matching correctly. From exteriors outside car windows to landscapes beyond windows and just standard compositing work, nothing can give a way a shot as a comp more reliably than an impossible depth of field that mis-matches. I share some really great techniques to getting the DOF right, it seems simple but it is so often finaled incorrectly. You may not know why the shot looks fake, but it will if the DOF is wrong.
课程 6：领域的深度。一个伟大的方式来增加生产价值，也卖了一个镜头，真实的是得到了准确和正确匹配的深度。从车窗外风景之外超越Windows只是标准的合成工作，没有什么可以给一个镜头作为补偿比不可能的景深信息匹配更可靠。我分享一些很伟大的技术获得自由的权利，这似乎很简单，但它常常是不正确的意向。你可能不知道为什么镜头看起来假，但它会如果自由度是错误的。

Class 7: Colourspace. You cannot professionally finish a shot if you cannot control the color. Color management is vital to have a consistent pipeline, to not loose hours in a major production. We cover 1D luts 3D luts, OCIO, the increasingly important ACES workflow in Nuke and visualising colorspace transformations using positionToPoint.
课程 7：colourspace。如果你不能控制颜色，你就无法完成一个镜头。颜色管理是至关重要的有一个一致的管道，在一个主要生产不松动。我们覆盖的一维LUT的3D LUT，社会日益重要的王牌，工作流在Nuke和可视化的颜色空间变换使用positiontopoint。

Class 8: Selling a CG shot. Placing CG in context is often about contact lighting and comping in correct reflections. This week we look at what you can do to sell a shot and place the CG correctly. Sometimes this is not about technical accuracy, even a perfect HDR CG element may seem to float, we explore grounding your work and polishing a comp. This now extends to Deep color and deep compositing, and placing elements correctly in atmospherics.
课程 8：卖一个CG镜头。将CG在上下文经常接触照明项目在正确的思考。本周我们来看看你能做些什么来卖枪的地方CG正确。有时候，这不仅仅是技术的准确性，即使是一个完美的HDR的CG元素似乎漂浮，我们探讨接地工作和抛光的比较。现在延伸到深颜色深的合成，并将元素正确的氛围。

Class 9: Putting shots up in dailies and how to sell your shots. Further review of submitted comps.
课程 9：把球打在日报和如何销售你的照片。提交的文件进一步审查。

Class 10: Using particle systems in Nuke to simulate low poly models for filling out background scene elements.
课程 10：利用核粒子系统来模拟低多边形模型填充背景场景中的元素。

好好好好好好好好

非常感谢，感谢分享

monkeyman 发表于 2016-8-13 23:25:17：非常感谢楼主分享资源呀

非常感谢楼主分享资源呀！

看起来是很复杂的中级教程

好东西值得收藏，感谢分享

相当好的教程,谢谢分享,再次感谢啊

相当好的教程,谢谢分享,再次感谢啊

thank you  

非常感谢，感谢分享

不错，学习一下。

昨天想下载没有下载成功

这个质量很高，感谢楼主分享