• Become Wizard
    8 Weeks, Full-Time Program
  • Features
    Live Online Course
WITH FRANCESCO DELL'ANNA
In this course we will learn how to successfully assemble and finalize a full CG shot. We will study how a CG beauty render can be reconstructed using its light components in order to have better control of every aspect of the image, tweaking the passes separately and aiming for a more photorealistic composite. We will learn how to rebuild a CG beauty render using both additive and subtractive methods and how to judge when to use one way or the other. 
As Deep compositing has become more and more the new industry standard for all the major VFX Houses, an entire module will be dedicated to the use of deep data in Nuke. Deep Image Compositing introduces new possibilities that increase flexibility and solve old problems of depth-based compositing. 

Compositing artists need to be able to combine and integrate multiple visual elements from separate sources into a single image or a sequence of images.
That’s all compositing is about.

We’ll take a look at how to integrate a digital matte painting into a full CG shot using 3d projections. 
In addition to the beauty AOVs, more technical utility AOVs can also be used such as ID masks, which allow an artist to select and perform manipulations on a specific object in a large scene. We’ll look into some of the utility passes and how to use them.
As professional VFX compositors, we need to be able to manage our own time when working on a shot and often we are required to produce and deliver good looking images in tight deadlines. For this reason we need to be able to improve our efficiency and be able to create gizmos in Nuke is definitely part of the process. Gizmos are macros wrapped in a single node and they are provided with a custom user interface to control the internal nodes. We’ll dedicate a module to the creation of a gizmo in Nuke.
One of the last steps of a full CG shot composite is replicating artifacts of a real camera lens, such as lens flares, glares, Chromatic aberration etc. Computers don’t deal with imperfections but an image generated from a render engine is perfect. It is essential that a compositor knows how to recreate and apply a photographic look of a lens to CG renders. 
The last part of the course is dedicated to tech checks. At the very final stage of the shot, when it is “creatively finalled”, tech check is the process that fixies any technical errors. We’ll look into the steps of tech checking a shot and rendering the final output clean of errors.
This course is for
students
  • Hardware required
  • IMPORTANT NOTICE
    This course will start in May 2021.
    Since a limited number of students will be admitted, we suggest you register to our portal to get priority.


register
ask for information
WITH FRANCESCO DELL'ANNA
In this course we will learn how to successfully assemble and finalize a full CG shot. We will study how a CG beauty render can be reconstructed using its light components in order to have better control of every aspect of the image, tweaking the passes separately and aiming for a more photorealistic composite. We will learn how to rebuild a CG beauty render using both additive and subtractive methods and how to judge when to use one way or the other. 
As Deep compositing has become more and more the new industry standard for all the major VFX Houses, an entire module will be dedicated to the use of deep data in Nuke. Deep Image Compositing introduces new possibilities that increase flexibility and solve old problems of depth-based compositing. 

Compositing artists need to be able to combine and integrate multiple visual elements from separate sources into a single image or a sequence of images.
That’s all compositing is about.

We’ll take a look at how to integrate a digital matte painting into a full CG shot using 3d projections. 
In addition to the beauty AOVs, more technical utility AOVs can also be used such as ID masks, which allow an artist to select and perform manipulations on a specific object in a large scene. We’ll look into some of the utility passes and how to use them.
As professional VFX compositors, we need to be able to manage our own time when working on a shot and often we are required to produce and deliver good looking images in tight deadlines. For this reason we need to be able to improve our efficiency and be able to create gizmos in Nuke is definitely part of the process. Gizmos are macros wrapped in a single node and they are provided with a custom user interface to control the internal nodes. We’ll dedicate a module to the creation of a gizmo in Nuke.
One of the last steps of a full CG shot composite is replicating artifacts of a real camera lens, such as lens flares, glares, Chromatic aberration etc. Computers don’t deal with imperfections but an image generated from a render engine is perfect. It is essential that a compositor knows how to recreate and apply a photographic look of a lens to CG renders. 
The last part of the course is dedicated to tech checks. At the very final stage of the shot, when it is “creatively finalled”, tech check is the process that fixies any technical errors. We’ll look into the steps of tech checking a shot and rendering the final output clean of errors.
  • Features
    Live Online Course
  • IMPORTANT NOTICE
    This course will start in May 2021.
    Since a limited number of students will be admitted, we suggest you register to our portal to get priority.


register
ask for information
     

LEARN HOW TO FINALIZE
A FULL CG SHOT

     

Combine and integrate multiple visual elements from separate
sources into a single image or a sequence of images.

FRANCESCO DELL'ANNA

Francesco has over 13 years of Television and Film industry experience. He started his career working on feature films in Italy and moved to Prague in 2013, where he worked on movies such as “Die Hard”, “Snowpiercer”, “The walk”, “Blackhat”, “Palo Alto” and several TV series. 
He then moved to London, where he worked for Double Negative and then relocated to Vancouver where he has been working as Lead Compositor for 5 years and during this time, he received VES Award in “Outstanding created environment in a photoreal feature” category for the movie Blade Runner 2049.

In 2019, Francesco has been nominated for VES Award for "Outstanding Compositing in a Photoreal Feature” category for the feature film “First Man”. He is currently working on “Dune” as Compositing Supervisor.
Winner of the 90th Academy Award for Best Visual Effects – Blade Runner 2049 and of the 91th Academy Award for Best Visual Effects – First Man.

About Francesco

FRANCESCO DELL'ANNA

Francesco has over 13 years of Television and Film industry experience. He started his career working on feature films in Italy and moved to Prague in 2013, where he worked on movies such as “Die Hard”, “Snowpiercer”, “The walk”, “Blackhat”, “Palo Alto” and several TV series. 
He then moved to London, where he worked for Double Negative and then relocated to Vancouver where he has been working as Lead Compositor for 5 years and during this time, he received VES Award in “Outstanding created environment in a photoreal feature” category for the movie Blade Runner 2049.

In 2019, Francesco has been nominated for VES Award for "Outstanding Compositing in a Photoreal Feature” category for the feature film “First Man”. He is currently working on “Dune” as Compositing Supervisor.
Winner of the 90th Academy Award for Best Visual Effects – Blade Runner 2049 and of the 91th Academy Award for Best Visual Effects – First Man.

About Francesco

COURSE SYLLABUS

AOVs
 

In compositing, render layers AOVs can be used to manipulate the various components of the CG lighting and shading. We will discover how a CG render is made up of AOVs and how to rebuild the beauty render through them.

DEEP
COMPOSITING

What is Deep compositing and when and why should you use it? In this module, we will learn how to correctly setup a workflow in Nuke when using deep data.

GRADING
AOVs

CG Grading, how to grade the CG renders and control individual light components. We’ll take a look at some of the main color correction and grading tools Nuke has to offer.

DIGITAL MATTE
PAINTING

Digital matte painting, we’ll discover how to 3D project 2D images and the necessary steps for their integration.

AOVs
 

In compositing, render layers AOVs can be used to manipulate the various components of the CG lighting and shading. We will discover how a CG render is made up of AOVs and how to rebuild the beauty render through them.

DEEP
COMPOSITING

What is Deep compositing and when and why should you use it? In this module, we will learn how to correctly setup a workflow in Nuke when using deep data.

GRADING
AOVs

CG Grading, how to grade the CG renders and control individual light components. We’ll take a look at some of the main color correction and grading tools Nuke has to offer.

DIGITAL MATTE
PAINTING

Digital matte painting, we’ll discover how to 3D project 2D images and the necessary steps for their integration.

AOVs UTILITY
DATA

Beside light components, AOVs can also contain non-beauty data such as motion vectors, position pass, masks, depth and other passes. We’ll discover how to use some of them.

GROUPS AND
GIZMOS

Custom nodes, how to create your own group/gizmos in Nuke and be more efficient.

LENS FX
 

Mimic the imperfections and artifacts of a camera lens, adding photographic properties to the image.

TECH
CHECKS

Tech check, how to control the quality of your shot for the final delivery.

AOVs UTILITY
DATA

Beside light components, AOVs can also contain non-beauty data such as motion vectors, position pass, masks, depth and other passes. We’ll discover how to use some of them.

GROUPS AND
GIZMOS

Custom nodes, how to create your own group/gizmos in Nuke and be more efficient.

LENS FX
 

Mimic the imperfections and artifacts of a camera lens, adding photographic properties to the image.

TECH
CHECKS

Tech check, how to control the quality of your shot for the final delivery.

     

LINKNETIC IS AN ONLINE FILM HUB
WITH A UNIQUE TRAINING METHOD
DEVELOPED ON REAL PROFESSIONAL NEEDS

A Data-Driven Vfx Academy, with a Strong Human Heart

     

WE HAVE THE BACKGROUND AND THE VISION TO SUCCEED

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