Learn About Deep Compositing With Nuke

Deep Compositing allows artists to work with ‘deep images’ containing multiple opacity or colour samples per pixel. This allows rendering of CGI elements without predetermined holdout mattes, avoiding the need for re-renders when content changes.

Join Motion Media, along with Deke from The Foundry, and get a hands on view of what deep compositing is, how it works in Nuke, and how you might be able to use it.

Exploring the Deep Toolset inside Nuke & Beyond

• Pros/Cons of using deep compositing, why do you need them and when.
• How to create deep files in Maya/Prman to use in Nuke
• Compositing, modifying and holdouts utilizing deep
• Faking other effects with Deep toolset like smoke, light volumetrics and fog
• OpenEXR 2.0 preview with future Nuke versions

This is not a hands on class, but it is a presentation geared towards learning.

If you have any questions, feel free to contact us at customers@motionmedia.com

There will be drinks and light snacks provided.

What is Deep Compositing?

Deep compositing allows artists working with CGI material to process and composite ‘deep images’ containing multiple opacity or colour samples per pixel at different depths. As well as enabling new creative possibilities in compositing, such as volumetric effects, the technique leads to higher-quality imagery when integrating and finishing CGI rendered elements. Furthermore, by increasing the amount of useful data available in compositing, the toolset provides greater efficiencies by reducing the amount of rerendering typically required from CGI departments. For example, the generation of holdout mattes for individual CGI objects or characters can then be performed within NUKE itself. Such savings can run into hundreds of hours on large-scale projects that prominently feature CGI assets.

Presented By Deke Kincaid, Creative Specialist

Deke Kincaid is a Creative Specialist at the Foundry. He has worked in feature film and commercial production for 12 years. Originating from the east coast of the US, he lives in Los Angeles California and has worked at a wide variety of visual effects and creative studios including Motion Theory, Weta Digital, Rhythm & Hues, Method, Technicolor and Asylum VFX