Join Brian Morse for an in-depth discussion in this video Compositing your shot, part of 3D Tracking and Nuke Compositing.
- [Instructor] Okay, so let's start integrating our window into the scene a little bit better. I'm gonna go back to the first frame. And under the direct diffuse, let's add a grade, and I'm gonna disable that grade. And all we're gonna do is we're gonna use the black and white point matching to make this color of the trim closer to the trim of the shed. I'm gonna grab the black point, and I'm trying to find something, a dark pixel on the window.
Somewhere right near the edge. And then the white point, let's Command + Shift over the side of the window. So that'll average out all the pixels in that bounding box. Now let's go to the lift, select some dark pixels in the original footage, like right there in the shadow, and then select the gain.
And the gain is where we're gonna Command + Shift and select a bunch of pixels on the trim. Let's re-enable that grade. See what we get. And we can move this around and try some different areas and see if we can get something to match a little bit closer. Yeah, something like that's pretty good.
Okay, I'm gonna turn off the color picker. Okay, so the next thing we need to do is, the render from Maya is so clean that we're gonna need to soften it up to match the footage a little bit closer. So let's Command + Click on the Shuffle Copy node. That selects everything upstream, and that way we can make a little bit more room, and under that Shuffle Copy, let's add a defocus. And let's zoom back in a little bit closer so we can see.
We want a frame that doesn't have much motion blur on it. And the first frame is actually a pretty good frame to work with. We don't want much, so let's see. Let's say, like 1.2. That looks pretty similar. And the next thing we're gonna want to do is let's introduce our motion blur. So, let's find a frame that has a decent amount of motion blur, like frame 66, and let's add a vector blur.
And now we get to use our motion vector pass that we rendered out from Arnold. So let's go up to the uv channels and the vector blur, find our motion vector and select that. And under the presets, let's select Arnold. One of the other things I wanna change is the blur type. Let's change that to uniform. And let's start bringing up the motion amount and see if we can match the motion blur.
Try 1.3, and so let's skip through and try to find some other areas that have a lot of motion blur and just make sure that everything's matching up. Oh, there's another good frame. So that seems to be matching pretty well. Another thing that we can do to help make this integrate even better is to add in some grain, since the renders from Maya are so clean.
So let's, underneath our re-distortion node, let's add a grain. And then let's zoom in here so that we can see the corner of this window and a little bit of this door. And let's match the grain real quick. I'm switching to the red channel. Gonna bring the size down. And let's do the green, and bring the intensity down.
And then the blue, same thing. Well, it looks pretty close. So now let's just quickly check our composite. So now that we have this shot all set up, we can use this same setup for the other two cameras.
- Exporting cameras to Maya and Nuke
- Importing models
- Setting up scenes for compositing
- Setting your color space
- Using 3D in Nuke to add a change
- Connecting all of your shots
- Rendering final composites