3D Match Moving

Week 1 – Nuke 3D & Camera Projection

Now we switch to the 3D aspect of Nuke, we’re introduced to a new set of nodes, as a the 3D space that represents these nodes.

When setting up a camera and combining the 2D and 3D elements in Nuke, there are some key factors to maintain the quality of how the virtual camera matches the actual footage captured by a real camera.

Focal Length
Resolution
Sensor

: A card node allows the color bar to be manipulated in the 3D space. Scanline Render shows you the final results of the camera’s perspective.

: 3D space for the camera and card

By adding a second viewer to the subject that’s going through (In this case, the color bar with its color correction node), we can simultaneously see the workflow in both the 3D and 2D perspectives.

Colour space usage

Week 2 – Nuke 3D Tracking

Week 3 – 3D Equaliser

Week 4 – Lenses & Cameras

Through out the years, there’s been a development in the evolution of match-moving lenses and cameras, as well as their ability to capture light into the various types of film that then introduced more aspect ratios.

Week 5 – Prep for Assignment 2

Today’s exercise is also an early preparation for our second assignment. As we go go outdoors with specific filming equipment, we were assigned roles to capturing our own footage by turn and capturing the a sequence of images for that area to create an accurate HDRI.

The footage is taken to Nuke for tracking, that will allow any model done in Maya to be applied to this tracking data. And with the HDRI from the images all blended in, this creates an accurate environmental lighting for the model from Maya that will match its lighting to the footage.

Creativity is key, and now we have the footage out of the way, we can start modeling different elements according to the time period. In this case,