Join Mark Lefitz for an in-depth discussion in this video Adding the secondary passes, part of Photorealistic Lighting with Maya and Nuke.
Next we need to bring ambient occlusion into our new comp.…As you recall, we rendered an AO pass from the associated pass section in Maya.…And here in our comp, I created a shuffle node, and I shuffled out the AO pass, so…let's take a look at what that AO pass looks like.…So now what we need to do is we have to multiply that into our composite, so I…went ahead and I created a merge node, and I set the operation to multiply.…
Let's go to the end of our comp, and let's take a look at our Grade node. I'm…going to put that on the number 2 for our viewer.…And now let's unhook our multiply, so we can kind of see the difference of our…Grade node image, with and without our ambient occlusion. So I'm going to select…this leader. I'm going to just put it over here into our plus node.…So now our ambient occlusion is not being rendered in our new comp.…So, notice that the car actually became a little bit lighter. Put that leader…back into multiply, and notice that where our geometry is in close proximity to…
- Understanding image-based lighting
- Analyzing and color correcting the background plate
- Creating a 3D camera to match the plate
- Lighting with low-quality settings and proxies
- Setting light samples
- Setting up render passes
- Rendering mattes ground shadow, and occlusions passes
- Adding gamma correction in Nuke
- Adding the object to the plate and rendering the final composite
- Retouching the composite using Photoshop
Skill Level Intermediate
Lighting and Rendering with mental ray in Mayawith Eric Keller4h 56m Intermediate
Creating Textures and Shaders in Mayawith Eric Keller3h 30m Intermediate
1. Image-Based Lighting
Correcting the HDRI5m 22s
2. Asset Integration
4. mental ray Rendering
5. Creating Secondary Passes
6. Compositing the Rendered Passes in Nuke
7. Final Touch-Ups in Photoshop
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