I have a broad knowledge and skillset in Nuke, Maya and Cinema 4D, which is sufficient to execute all but one of the camera projection techniques seen in my review of widely available learning materials. The only exception was a ‘patch projection’ technique, used to resolve pixel smearing, covered in the Camera Projection Techniques in Maya series from The Gnomon Workshop (2011). I will look to further my knowledge in this area but not necessarily using a fully-fledged 3D application as this appears cumbersome and unnecessary. Instead I will look to develop similar strategies using Nuke.
One aspect that has emerged from my review of learning materials is how important it is that the modern matte painter is able to use 3D modelling tools. I have to acknowledge that I haven’t done very much modelling and, whilst I understand the principles and the tools, I need to practice this in order to embed this knowledge, improve my decision making and speed.
Another aspect, which emerged from my review of the ‘castle project’, released by FXPHD in 2016, was a requirement to understand the basics of working with UV’s. This is something I have no previous experience of yet is clearly part of the matte painter’s arsenal. I acknowledge that I will need to undertake some training and practice in this area, although maybe not as an initial priority.
I am aware of the common nodes used in Nuke for camera projection am sufficiently familiar with their use and attributes. However I have to acknowledge that my previous use does not stretch beyond the techniques covered in the tutorials reviewed. I haven’t really used them to solve more complex problems presented by dynamic and expansive camera moves. This will present an initial training priority.
I am familiar with multiplaning (2.5D compositing) technique and its role in matte painting. I believe I have a wider appreciation of its scope and, more importantly, its limitations than what is explained in the learning materials reviewed. In terms of technical execution of this technique, I have more advanced knowledge of how to implement this technique using lens properties built into Nuke’s card node. This technique appears to form part of most projected matte paintings, if only for distant objects that have little or no parallax from the perspective of the shot camera. I will look to explore the threshold at which the parallax flaws become apparent and offer some insights in this regard.
The following is a timetable covering exploration, in the software applications, to be undertaken during 2019/20
| Subject | J | J | A | S | O | N | D | J | F | M | A | M |
| Expand use of camera projection techniques in Nuke | ||||||||||||
| Develop 3D modelling through practice and reflection | ||||||||||||
| Explore thresholds for utilisation of 2.5D techniques | ||||||||||||
| Training in working with UV’s and undertake practice projects |
Peter Holmes PhD Journal 