Nuke Compositing for 3D Artists

An 8-week course focused on learning compositing for feature film, animation and 3D techniques using Nuke

Course overview Course overview

Course Overview

Become a better compositor using Nuke

Nuke compositing for 3D artists, with lectures by Nick Deboar, is the perfect course for anyone who produces or works with 3D renders. This includes Lighting Artists looking to composite their own shots, or compositors wanting more knowledge on dealing with 3D renders. The course has been updated to cover the latest features added in Nuke 8. This includes Deep Compositing (including example deep images in the OpenExr 2.0 format for students to experiment with). The course will cover common production tasks, such as dealing with multi-channel exrs, linear color, motion blur, depth of field and premultiplied images. It will then move on to more advanced topics; working with position passes, creating skies in nuke, eye reflections, re-lighting, stereo workflows, deep compositing, expressions and creating gizmos. *These lectures were recorded by Nick Deboar, and is currently being taught by Behnam Shafiebeik.


Course Format:   Standard
Lecture Type:   Pre-Recorded
Feedback:   Individual Recordings
Duration:   8 Weeks
Assignment:   Deadlines each week
Q&A:   Once a week
Materials:   Maya (Or equivalent) Nuke
Skills level:   Intermediate to Advanced
Prerequisites:   Intermediate knowledge in 3D software

Environment design WHAT YOU’LL LEARN

What you'll learn

The more you know, the better.

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Setting up workspace/preferences Working with premultiplied images What is linear color, and how Nuke deals with it. Multi-Channel EXR workflow How to split up a multi channel exr into its individual components (diffuse,specular,reflection), and then composite them to match the beauty render. Assignment 1: Students will build a basic Nuke template using supplied multi-channel EXRs. WEEK 2 - CREATING GIZMOS Setting up a Nuke environment (defaults, installing plugins/gizmos) Expressions Stereo workflows in Nuke Assignment 2: Students need to create a Gizmo that lets you add a glow to an image.
Setting up a Nuke environment (defaults, installing plugins/gizmos) Expressions Stereo workflows in Nuke Assignment 2: Students need to create a Gizmo that lets you add a glow to an image.
Nuke ZBlur PG Bokeh Nuke 7: zDefocus Zdepth fog Post Motion Blur using Motion Vectors Nuke 7: Deep compositing Assignment 3: Using example EXRs, create one scene demonstrating Post Depth of Field, and another demonstrating Post Motion Blur.
Creating 3D skies in Nuke Projecting mapping Creating 3D mattes Using Reconcile 3D for creating animated Lens Flares Rendering stereo images in Nuke Assignment 4: Using all the skills learnt this week, students will create a Nuke scene with a 3D Sky and a Lens Flare.
Highly art directable eye reflections and pings are essential on an animated feature. Doing them in Nuke can save a lot of render time. UV mapping in Nuke using UV passes Creating reflections in nuke using envRelight Assignment 4: Build a gizmo to automate eye reflections.
Point distance Creating fast mattes using position passes. Point cards For rotoscoping in stereo, and tracking in 2d cards Python scripting in Nuke Transform concatanation Assignment 6: Create a gizmo for the point distance expression.
Rotoscoping: Using Nukes RotoPaint node, good rotoscope practices and rotoscoping motion blurred images. Chroma Keys: Basic theory, overview of Primatte, spill removal, KeyLight and the IBK nodes. Live action integration: Grading footage to match backgrounds, grain matching, edge glows. Assignment 7: Key some supplied footage, and composite it over a background.
Stabilization Using 2d tracks to remove unwanted camera motion. Marker/Rig removal Simple paint: Using the marker removal node to paint out unwanted markers 2D tracking: Using Nukes tracker node to track new elements over the top of unwanted markers 3d tracking: How to use Nukes 3D camera tracker, and moving onto creating simple 3d scenes for removing larger rigs from a shot like camera tracks/tripods or whole actors! Assignment 8: Remove markers from supplied video.

Unleashing your creative potential

Behnam Shafiebeik has been working as a VFX artist in the feature film industry for over 12 years. From a young age, Behnam always found himself wanting to know more about how filmmakers created never-before-seen worlds and creatures. It wasn’t until witnessing the lifelike dinosaurs in Jurassic Park when Behnam knew he wanted to be a part of the movie magic. Behnam got his start in the first ever Compositing Apprentice Program at Rhythm & Hues Studios; he was offered his first contract on Garfield: A Tail of Two Kitties. After having worked on almost a dozen films at R&H — including The Golden Compass; Behnam has also worked at Rising Sun Pictures in Australia where he worked on Harry Potter and the Deathly Hollows. He then found himself in New Zealand working on Rise of the Planet of the Apes at Weta Digital. Behnam moved back to his hometown of San Francisco to work at Industrial Light & Magic, where he is currently working on several films; including some based in a galaxy far, far away. Some of his favorite projects he has worked on at ILM are Captain America: Civil War, Ant-Man, Star Wars: The Last Jedi, Kong: Skull Island, and most recently completed work on Solo: A Star Wars Story.

May 14th - July 23rd

Summer TERM Registration



Classes Begin

July 21st!

Pricing & Schedule

Even though our courses are the most affordable for the quality of education.

These Finance Options allow you to focus on your goals instead of the barriers that keep you from reaching them.

Employer Reimbursement

Animation Guild CSATTF

Payment Plan

Companies that hire our students

  • Naughty Dog
  • Luma Pictures
  • Google
  • EA Games
  • DreamWorks Animation
  • Blizzard Entertainment

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