Introduction to Digital Compositing in Post-production

3D Tracking (part 2)

A course by Juan Olivares , Digital VFX Composer

97% positive reviews (103)

3,049 students

Audio: Spanish

· · · · · · ·

About the video: 3D Tracking (part 2)

Overview

“In this lesson, I will teach you how to track cameras, better known as 3D Tracking. I will show you the way to generate a virtual version of a set, in order to better integrate the elements.”

In this video lesson Juan Olivares addresses the topic: 3D Tracking (part 2), which is part of the Domestika online course: Introduction to Digital Compositing in Post-production. Learn fundamentals and basic techniques to create a VFX shot with Nuke.

Partial transcription of the video

“Now we need to define and tell the Tracker What is our soil, for example. That exists in all trackers, It's called Ground Plane, defining the Camera Tracker where is the ground, you can interpret everything much better and know the scales of things, know that this is ground, This is already something that is on the ground and so on. You will be able to understand much better the space in which these coordinates are. For that I will select these little dots that are on the ground, I'm going to give Right Button and inside the Menu we have one that says Ground Plane and here we will give the ...”

This transcript is automatically generated, so it may contain mistakes.

Course summary for: Introduction to Digital Compositing in Post-production

Level: Beginner
97% positive reviews (103)
3049 students
4 units
22 lessons (5h 36m)
8 downloads

Category
3D & Animation
Software
Adobe After Effects, Nuke
Areas
3D, Audiovisual Post-production, Film, Video & TV, Photography Post-production, VFX

Juan Olivares

A course by Juan Olivares

Teacher Plus

Digital VFX Composer

Juan Olivares is a specialist in digital composition and visual effects. His beginnings in the audiovisual world were in Buenos Aires (Argentina) working for television commercials, where he later made his big leap into the world of visual effects with the Oscar-winning film The Secret in Their Eyes.

He worked on innumerable Argentine productions before moving to Vancouver, Canada, where he worked in houses specializing in visual effects such as The Embassy, Zoic, and Digital Domain, with which he was able to participate in Hollywood productions such as Deadpool, Arrow, and Furious 7. Then, he crossed the ocean, this time to London, United Kingdom, where he worked at the Framestore house for the film Guardians of the Galaxy.

He is currently in Chile, his native country, where he founded a visual-effects boutique specializing in characters and creatures, called Grumpy VFX, where he is a composer and visual-effects supervisor.