Tracking and Smoke Comping Tests

That's it just beginning, but I had 2D tracked this shot as it is a simply a tilting shot.

I have cleaned up the rope from the original image as well as obviously composite smoke elements.

I will be doing these 2D tracking shots well before I attempt the main 3D tracking shot.

Factory/Station Comp Testing

I have tweaked the roto of the beams of light, keyed the final character and composited them in place of the other, applying light wrap etc.

To Be Done:

• Modelling tweaked with Lina (more details and scaling issues fixed)
• Texturing (photos taken)
• Lighting (collaborations)
• Alternative camera angles tested
• More passes rendered
• More dust and live action elements composited

...

More up to date (lifting lighting values at the back wall and adding particles into beams:

Node Tree:

Main Shots Update

'Conjure' | Keying/Comp Test

'Conjure' | Teaser Edit

This is and example of the first draft edit for the Conjure teaser for the course outcome. It is somewhat a long version, but this is the plan at the moment.

It is the raw footage with no VFX. There requires tracking, cleanup, roto of character, chroma keying, colour correction and compositing atmosphere and or CG passes to fulfil these shots.

After speaking with Jin, we have agreed that there are a lot of worthwhile tasks in these shots in order to learn these skills.

Once completed, this should please people who want to see narrative, but also people who want to see creative and really good visual effects.

Conjure | Living Room Colour Correction Test

Further 'Game' Cleanup

I have worked with Michael Fu on this. He tracked the roto' cleanup, then I animated the roto for this, added another roto for behind the guys shirt, which looked wrong (possibly a light), by cloning the wall behind him and roto'd the guy's shirt and merged that on top.

Here is a quick comparison of plates:

 Before

After

Node Tree:

Colour Correction - DaVinci Resolve

After speaking with Thomas Hogben about colour correction, and after a while of wondering which programme I would  go about this process with, it was made aware to me that DaVinci Resolve would be a good way to go.

I have since downloaded the free version and looked into tutorials. I am poking around trying to get to know the interface and brushing up on theory - primary, secondary colours, etc.

Referring to my previous colour correction post, it would be used obviously to best create the feeling of continuity - along with combining the visual effects to create atmosphere.

I feel that colour correction is a big part of compositing, as is tracking and roto, for example. They all form the process and create the visuals one can achieve in this area. That is why I will putting a lot of focus in this area in the near future.

'Game' Cleanup

I began cleanup in Nuke for Jeppe Nielsen's and Alan McIlrath's TBA project 'Game'.

I used the roto paint node and its clone tool in order to first of all touch up gaps in the flooring. I attempted tracking this footage with help from Michael Fu, but this needs to be worked on as it is going haywire.

Before

After - cleaned and artefacts

Node tree.

'Conjure' Colour Correction Test

In order for it to appear as though the factory interior in this dreamworld connects to the alleyway exterior (unexpectedly) I have made a start to test altering the colour correction to aid this transition.

I also believe that the fog needs to be synchronised to aid this transition, as well as perfecting this colour correction.

Factory/Station Comp Tests

After yesterday's very basic start, I am beginning to get a lot more satisfied with some of the proposed effects.

Here is a test of the composite so far:

Focus #1

Focus #2

Lighting: I have opted to do the beams of light solely in Nuke. Here you can make more interesting shapes with roto'. I have added extra spotlights - so I have three, one for the door, one for the light cast at the back, and one for  the foreground over the car. The direction fill light faces the way of the camera. An ambient light is used for the diffuse layer for creating a simple pass at the moment.

Composite: I have applied the same idea of light outside with a light wrap spilling onto the inside. I might go for a sunset feeling with this later. As I mentioned I have created beams of light using roto'. I have used a light layer and ambient occlusion layer and then down-played the diffuse so the ugly textures aren't as visible - and this adds to the misty effect. I have created mist in the background and played with zDepth. I have also applied an 18mm lens distortion from the alleyway scene. I have composited smoke into here - in the foreground, from the pipes and roto'd around the car and the tunnel area to place it in space.

Here are some breakdowns to demonstrate this:

This is the node tree:

I can visibly see things improving and can feel the progress here. I still looks like concept art and not quite realistic enough yet. The big aim is obviously for it, once developed some more, to work as a moving image (even if very slight). The shot will have a simple shake when meant to be still as well as a version which very slightly dollies in. All while smoke glides from pipes and beams twinkle with dust in a state of slow motion.

I will work with my cinematographers to get this scene to become seamless with the rest of the shots in the film.

Progress On Beginning of VFX Shots

They are very basic, and done in only a few hours, but they are underway.

 I painted out one of the lights and some advertisements. I roto'd the extractor fan and added it into another location on another wall for more sources of smoke. Added smoke from these two fans, and some general patches of smoke and atmosphere.

This is the beginnings of the final shot, just toying with a few ideas.

Generally, I want more atmosphere (without detracting from the good detail which is there) and for the composite to be more accurate and realistic. This is what I will spend a lot of my time over the coming months working on.

I have tested some spotlights with light fog in Lina's scene here, and done a few rotoPaints for some extra light fog. This is messy by all means, however it's a little test. There are clear issues with the lighting, and even the syncing up of the environment in regard to where light is coming from. I need a front-facing light from the door (it wouldn't just go at an angle like this) and some different ones coming from the ceiling windows and cracks. I think that the beams and light-fog should be kept to particular areas, for example, where there is a large gap in the ceiling where the main light source should come from. The light from the door needs work and the fill light from the front. Upon that, then there is a colossal amount of lighting and compositing improvements or additions to be made. This is also an unfinished model with basic textures. It currently, to my eyes, looks like a computer game - which is not a nice look. So, a few months still to go!

It's also encouraging that after some experience using Nuke, I am getting a lot handier at it.

Beginnings of alleyway shot.

Production Almost Complete

Here is a selection of photos from the production so far. We only have the green screen shoot to do at the end of the week.