HDRIs In Maya - 3dtutorialzone.com. This tutorial covers how to set up an HDRI image in Maya.
Set-up Download this HDRI testing scene file. Download the HDRI you intend to use (see chapter below). Set the menu set to rendering. Set the shelf to rendering. HDRIs let you light images using photographs. When an HDRI is created, the photographer takes pictures at different exposures of non-moving objects. There are two types of HDRI images used for lighting a digital scene: spherical and angular. If you don't intend to make your own HDRIs, you can buy them or get them free online. Lists of free sites: Notes On Selecting Good HDRI Images 1. 2. 3. 4. 5. 6. 7.
HDRIs In Maya There are two ways of using an HDRI in Maya: Using final gather and a sphere. Using a mental ray IBL node. Using Final Gather Step one - Create a sphere. Step two - Assign a surface shader material to it. Step three - Click on the checkerboard next to the out color to open the create render node window and create a file. Mental Ray To load Mental Ray: Now for a test render. Tips & Tricks FAQ.
What kind of camera will I need?
A digital SLR camera with interchangeable lenses is the ideal solution, but almost any camera will work if you can lock the aperture, lock the focus, and lock the white balance. Ultimately, you get what you pay for. Digital SLRs generally have more options for white balance, mirror lockup, etc… the more choices, the better! If you want a camera with the most convenient HDR shooting setup, choose a camera that has an auto-bracketing (AEB) option. Click here for a good list of cameras that have auto-bracketing (3 shots are common, but 5 or 7 is better) It also depends on how many HDRs you will be shooting and for what purpose? Back to top 4 Rules of shooting HDRs Lock f-stop (aperture – which controls your depth of field) Lock focus Lock white balance Turn off any in camera "automatic" image enhancing (i.e.: auto-contrast or auto-saturation, including sharpening) You will be bracketing the exposure time for your various exposures.
Live Action & CG 3 - A Comprehensive Guide to Compositing. In this DVD, Instructor Matt Skonicki takes you through the entire process of compositing 2 HD Shots with 3D integration.
The best part of this tutorial is it uses Autodesk Composite for compositing which ships free with Autodesk Maya 2011. Matt starts off by taking you On Location to demonstrate the capturing of the raw plate and HDRI images. From there he goes through creating the final HDRI image in Photoshop. The next chapters include detailed tracking in SynthEyes, setting up the scene in Maya, creating masks in After Effects, Animation of the 3D objects in Maya, adding particle effects, lighting, and render layers. Last, Matt composites the final scenes in Autodesk Composite. This tutorial is perfect for those who want an "Out of the Box" comprehensive tutorial on compositing 3D into your own camera footage primarily using Autodesk Maya and Composite. About the Instructor: Matt Skonicki has worked in the video game and film industry for over 6 years. MatchMover Tutorials > Automatic 2D Tracking Settings in MatchMover Tutorial. LiveAction & CG 3 – A Comprehensive Guide to Compositing.
Live_Action & CG 3 – A Comprehensive Guide to Compositing In this DVD, Instructor_Matt_Skonicki takes you through the entire process of compositing 2 HD Shots with 3D integration.
The best part of this tutorial is it uses Autodesk Composite for compositing which ships free with Autodesk Maya 2011. Matt_starts off by taking you On Location to demonstrate the capturing of the raw plate and HDRI images. From there he goes through creating the final HDRI image in Photoshop. The next chapters include detailed tracking in SynthEyes, setting up the scene in Maya, creating masks in After Effects, Animation of the 3D objects in Maya, adding particle effects, lighting, and render layers. Last, Matt composites the final scenes in Autodesk Composite. Compositing. Camera Tracking and Matchmoving - Andersson Technologies LLC.
Although SynthEyes is being used on major Hollywood features, we expect it to interest many local and regional edit/effects studios and independent feature producers that might be new to the technology, but wish to "move up" to offer more sophisticated effects to their clients or audience — who increasingly expect Hollywood excitement even from local productions.
Here, we've tried to look at what camera tracking is about, how you can do it, and how to use it effectively with clients. For technical details such as import and export formats, see the feature list. What is Camera Tracking? "Camera tracking" or "Matchmoving" or "3-D Tracking" is the process of analyzing a video clip or film shot to determine where in 3-D the camera went, what its field of view was, and where parts of the set were. The 3-D path of a large moving object can be determined as well.
Why bother? The camera tracking information lets you add 3-D animated effects into live-action footage, such as Shoot. How do I shoot? How to Create Professional HDR Images. Sweet sassy-mollassy, I've been Dugg!
Hi, Adobe! Note: clicking any image below makes it larger in a new window. If you visit here regularly, you've probably noticed that I post a lot of High Dynamic Range, or HDR, stuff these days. Even if you don't, you've likely seen HDR photos all around the net as photographers both pro and hobbyist experiment with this emerging artistic format. Personally, I was pointed to it earlier this year by a fellow photographer & friend, Darren, and I've been having a ton of fun with it since. However, I've noticed as I look around that most of the other photographers out there who work with HDR are creating images that, while often extremely interesting, look absoloutely nothing at all like the scene they were shooting -- and even if they do get it close, they end up with photos that have an enormous amount of HDR processing artifacts, such as halos.
What you need: 1. 2. 3. 4. First off, you need to take the photographs. Okay, you've got it open. Click OK. Free Video Editing Tip: 3D Compositing Video. Compositing a 3D rendered object into Video. Saturday 27th May 2000 This is a very simple tutorial demonstrating how to take 2D video footage and composite a 3D animated object in the scene.
I’m not going to go into every specific MAX feature and option used, Instead I’ll be concentrating more on the actual process and flow of work and files. There is a separate document that should be viewed before this one which deals with shooting video for compositing purposes which can be found here 1. Convert your video sequence to individual TIFF files. As we have discussed earlier when working with effect we want to keep file quality as high as possible, therefore JPEG’s are not the best medium for image storage.
Unless you’re using a very high end machine you’re not going to want to be dealing with large amounts of files whilst compositing, so take one frame of your sequence and keep it handy. 2. I’m not going to talk much about your actual animation. 3. So now you have a short animation and a video sequence. 4. 5. 6. 7. 8. 9. 10. 11. 12. After Effects Tutorials > Setting our image plane to test our tracked point cloud Tutorial. Matchmover and 3ds Max - 3D Tracking Workflow. Matchmover is available to all subscription customers for 3ds Max 2010 and 3ds Max 2011. It's one of the great values added when being on subscription for 3ds Max. In this set of video tutorials, you will see how Matchmover and 3ds Max work together. You'll be able to see how an image sequence can be used to extract 3D information that can be used in 3ds Max to create a perfect match between virtual elements and the 2D image sequence, even if the camera has fast and unstable movements.
Basics In This first video, we'll explore the very basic workflow between Matchmover and 3ds Max. Directed Manual Tracking For shots where you need specific points to be tracked in order to be referenced later in 3ds Max, you'll need to manually assign track points in Matchmover. Difficult Shot Tracking In reality, film shots are hard to track and a lot of hand work needs to be done. Using 3D Tracker to Recreate Real World from Image Sequence Replacing Reflections Using the MentalRay Matte/Shadow Material.