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Nuke Compositing for 3D Artists

An 8-week course on compositing for feature film, animation, and 3D techniques using Nuke

Course overview Course overview

Course Overview

Become a better compositor using Nuke

Nuke Compositing for 3D Artists is the perfect course for anyone who produces or works with 3D renders; this includes lighting artists looking to composite their own shots, as well as compositors wanting more knowledge on dealing with 3D renders. Formerly “Compositing for Feature Animation,” the course has been updated to cover the latest features added in Nuke 8. This includes deep compositing (including example deep images in the OpenExr 2.0 format for students to experiment with). The course will cover common production tasks, such as dealing with multi-channel exrs, linear color, motion blur, depth of field, and pre-multiplied images. We will then move on to more advanced topics: working with position passes, creating skies in Nuke, eye reflections, re-lighting, stereo workflows, deep compositing, expressions and creating gizmos. Even people familiar with Nuke will learn a few new tricks. Each lesson will include high-quality 3D renders to work with. Students will finish the course with the confidence to composite on an animated or live-action feature, and maybe even a few new tricks! (Lectures by Nick Deboar ) | Students enrolled in this course are eligible for a short term 6 month student Production Collective license at half the price ($131 vs. $262). Download the syllabus for more information.


Course Format:   Standard
Lecture Type:   Pre-recorded
Feedback:   Individual recordings
Duration:   8 Weeks
Assignment:   Deadlines each week
Q&A:   Once a week
Materials:   Maya (or equivalent), Nuke | See syllabus for student license information.
Skills level:   Intermediate to Advanced
Prerequisites:   Intermediate knowledge in 3D software

Nuke Compositing for 3D Artists WHAT YOU’LL LEARN

What you'll learn

The more you know, the better.

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Setting up workspace/preferences | Working with pre-multiplied images | What is linear color, and how Nuke deals with it | Multi-channel EXR workflow | How to split up a multi-channel exr into its individual components (diffuse, specular, reflection), and then composite them to match the beauty render
Setting up a Nuke environment (defaults, installing plugins/gizmos) | Expressions | Stereo workflows in Nuke
Nuke ZBlur | PG bokeh | Nuke 7: zDefocus | Zdepth fog | Post motion blur using motion vectors | Nuke 7: deep compositing
Creating 3D skies in Nuke | Projecting mapping | Creating 3D mattes | Using reconcile 3D for creating animated lens flares | Rendering stereo images in Nuke
Highly art-directable eye reflections and pings are essential on an animated feature. Doing them in Nuke can save a lot of render time. | UV mapping in Nuke using UV passes | Creating reflections in Nuke using envRelight
Point distance | Creating fast mattes using position passes | Point cards | For rotoscoping in stereo, and tracking in 2D cards | Python scripting in Nuke | Transform concatanation
Rotoscoping: using Nukes RotoPaint node, good rotoscope practices and rotoscoping motion blurred images | Chroma keys: basic theory, overview of Primatte, spill removal, KeyLight and the IBK nodes | Live action integration: grading footage to match backgrounds, grain matching, edge glows
Stabilization | Using 2d tracks to remove unwanted camera motion | Marker/rig removal | Simple paint: using the marker removal node to paint out unwanted markers | 2D tracking: using Nukes tracker node to track new elements over the top of unwanted markers | 3D tracking: how to use Nukes 3D camera tracker, and moving onto creating simple 3d scenes for removing larger rigs from a shot like camera tracks/tripods or whole actors

Unleashing your creative potential

Behnam Shafiebeik has been working as a VFX artist in the feature film industry for over 12 years. From a young age, Behnam always found himself wanting to know more about how filmmakers created never-before-seen worlds and creatures. It wasn’t until witnessing the lifelike dinosaurs in Jurassic Park when Behnam knew he wanted to be a part of the movie magic. Behnam got his start in the first ever Compositing Apprentice Program at Rhythm & Hues Studios; he was offered his first contract on Garfield: A Tail of Two Kitties. After having worked on almost a dozen films at R&H — including The Golden Compass; Behnam has also worked at Rising Sun Pictures in Australia where he worked on Harry Potter and the Deathly Hollows. He then found himself in New Zealand working on Rise of the Planet of the Apes at Weta Digital. Behnam moved back to his hometown of San Francisco to work at Industrial Light & Magic, where he is currently working on several films; including some based in a galaxy far, far away. Some of his favorite projects he has worked on at ILM are Captain America: Civil War, Ant-Man, Star Wars: The Last Jedi, Kong: Skull Island, and most recently completed work on Solo: A Star Wars Story.


July 21st!

winter TERM Registration

May 14, 2019 - Jul 23, 2019




July 21st!

Pricing & Schedule

Even though our courses are the most affordable for the quality of education.

These Finance Options allow you to focus on your goals instead of the barriers that keep you from reaching them.

Employer Reimbursement

Animation Guild CSATTF

Payment Plan

Companies that hire our students

  • Naughty Dog
  • Luma Pictures
  • Google
  • EA Games
  • DreamWorks Animation
  • Blizzard Entertainment

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