Curved Edges

In the environment I was given, the edges of the room are very hard-edged and in perfect right-angles. In reality, this is obviously very rare, only ever really seen in maths textbooks.

In my previous projects, this was one problem I hope to move on from.

I have thus far thought up three options of how to go about this:

• Merging objects and adding geometry to curve the edges of the room. However, this in theory would then create a perfect curve. Also unrealistic.

• So, the next option would be to use Mudbox to create rubble, bumps and imperfections. This would either entail sculpting and exporting a displacement map (and dealing with that in Maya), or re-importing the object with high subdivision levels - brave on the processing front.

• The third, and most convincing, option is to use photographs from the environment to inform the camera angles and composite the edges of the room into the render. This of course is up for testing to see if it can be roto'd and sync'd into the environment. But, I believe at this stage it will consist of making sure the textures and the compositing edge elements are similar and therefore easier to composite together. This of course fits much better into my Programme of Study which is based around high-end compositing.

IB Lighting and Comp Tests

This is the whale from the Going Live project. It is set up to be lit by particular scenes.

Such techniques involving HDRIs and touching them up to light the character in a real life scene are very effective and much more interesting to me than just setting up Maya default lights by themselves and tweaking them... So this has been an interesting practice.

I have done a compositing test in Nuke here, matching the grain and colour correction of the scene. I am awaiting the texture/ displacement map/ colour map/ bump map for the whale. After getting these, we can do a test render and composite for one of the scenes... It should be exciting and better quality work than we have produced before.

Going Live | Packshot Test

After our test, and subsequently lessons learnt, myself and Ross Douglas organised and executed the filming of the packshot. We organised to have the help of the experienced Malcolm Finnie, and I booked out the EX-1 and the facilities.

Yesterday we picked up our clear Guinness shaped glasses (x4) and today we filmed the shots.

We initially thought we would film a 'perfect' shot of the Guinness rising in the glass after being poured. However, it appeared with Malcolm's advice that a multiple exposure and combination/layering of the best clips would be best. So after stinking out the photography studio with booze, we bunged a few of the clips together, then I tweaked it in order to create a first test.

Here it is:

In order to create the swirling effect desired (in combination with the basic rising), and not waste cans of Guinness, we mixed the pint with a stick. This shook the glass a little, so this needed stabilised (this is still not perfectly executed). I also animated a mask to create the rising effect (I feel that we can make this fully rise and meet the head and therefore last longer). There is around five shots combined here in this test - set to 'Screen' with tweaked opacities.

We will have meetings during this week to discuss all of this.

I think this went night and day better than last week's attempt. Obviously a long weekend drinking Guinness in Belfast for my big brother's stag really helped!

'Conjure' | Pre-Vis/Preview

I have blocked out the basic shots and then went into more detail with the edit and the detail of the drawings. However, I think it is very necessary in the next stages to properly lay it out in the rule of thirds, odds, and start to add depth to the types of shots I'm using. I want to make the compositions as effective as possible. But, this is the basic 'feel' so far.

We will be shooting for this entire film and then I will be producing a selection of visual effects shots for the Masters Show.

For this semester I am handing in compositing tests in Nuke of the factory setting and other comp tests.

Composition Notes

I have become more enlightened in terms of how to compose an image. This will aid the finalising of my storyboard.

Particularly noticeable conventions are:

The rule of thirds - an image balances better if important elements lie on a choice of the four even intersections (2 vertical, 2 horizontal).

Rule of odds - an image balances better if there is an even number of characters or elements surrounding or supporting the central character or element.

The rule of space - by placing an image to a particular side, with space infront of them, implies movement.

Simplicity - not over-cluttering a composition will not distract the eye.

Balance, imbalance, orientation, angles, movement, lighting, montage.... so on... are also obviously extremely power in combination with these.

Even though these seem especially obvious, I feel they must not be forgotten, as they are very powerful in producing a professional composition. One element of the vast artform we call filmmaking.

Update on Practice - AF101 and VFX

Today, I completed the first half of my training on the Panasonic AF101 with Malcolm Finnie.

The Panasonic AF101

Co-cinematographer on the project Alan McIlrath, who also took part in the training, has experience working with this camera on such productions as Flyboy Film Production's Pigeon Song (2012) and likes the quality of image it produces. 

This is the camera which we will use in the production of my masters film 'Conjure' and it is always good as a compositor to learn more about cameras. When you deal with such things as lens distortion and camera tracking within compositing, it is clear this is one of the areas one must understand to be successful in the area. At least three of us need training to take this particular camera out. So myself, Alan, Jeppe and later Michal will have been trained, which is more than enough.

I feel that compositing and VFX is the combination of such things as general animation, physics, composition and photography. So it is activities such as this which will eventually lead to me having a very good basis of compositing within filmmaking.
___

Other than this, essay writing, presenting, science visualisations and the 'private' Going Live project, I have begun on the collaboration on the factory shot for Conjure with Lina Ivanova after I touched up the storyboard and pre-vis and created concept art for it.

Here are two particular references:

Hugo (2011)

Station Park

This is the rough concept art image:

Other than even this, I have started to take footage/plates from an old project of mine in order to test out some compositing and tests for 'Conjure'. The pre-production and especially production for this project is a heavily collaborative process, which allows me to work on my specialty. That is a reason why myself and Lina are producing the factory interior this semester.

We shoot Conjure in May, and I will be conducting compositing within Nuke for those VFX shots, neglecting detailed editing and sound (even though I am not doing this) until after the programme ends - possibly submitting and displaying at the Masters Show merely those VFX shots achieved. (This theory of my final output has become a concrete thought now, considering similar posts previously.)

We are, and myself especially, excited about the project and the upcoming shoot in May. In early April, we will commence detailed planning and even fundraising. It is definitely looking good (touch wood).

Upcoming: Full pre-vis No. 1 (currently just a few more scenes to cut); VFX background replacement test in Nuke; and updates on the factory setting layout and composite tests...

Abstract: Reflection on Practice

This is the abstract for my written module:

A Picture Can Speak a Thousand Composites

Filmmaking is visual storytelling, or ‘character-telling’, and the visual language of a film needs to be very precise, symbolic and effective. In today’s world, visual techniques are widened, but are people using them effectively and considering their predecessors and pioneers in filmmaking?

I specialise in the visual effects area of compositing: Brinkmann (2008) describes the area of compositing as the integration of at least two different mediums. I believe that with this process you can make a powerful, filmic or artistic image.
Visual effects is the combination and integration of live action and CG, but I believe filmmaking needs to combine these well to tell an effective story.
Sijll (2005) demonstrates many filmmaking conventions used in films, mostly modern films. Studying the early pioneers, for example, George Melies and Edwin S. Porter, the early effects and techniques are clear and simple. Alfred Hitchcock’s philosophies are more developed and practiced decades later. Modern-day filmmaker Martin Scorsese uses film knowledge extremely well, and his visual effects film Hugo addresses the same issues as my study, in plot and visual.
The focus of the study is on the particular storytelling convention of composition and the framed image, taking influence from these individuals, their films and more, while focus groups or interviews inform the perspective of general film audiences.

This study allows me to investigate the relationship between significant periods of film history through one focus: the composition. This will make sure that no-one forgets the importance of the artform and their antecedents.

Fraser Murdoch (MSc Animation and Visualisation)

'The Escapist' Project

Last semester I had a discussion with cinematographer and TBA student Michal Zagorski. We discussed the fact that I needed a cinematographer for my masters project and that he needed an animator for his third year TBA music video 'The Escapist' which he was working with classmate Jeppe Nielsen on.

The deal was made, and I had a long discussion with him about what he and Jeppe had imagined for this piece in one particular scene. I started to put down what he said and then made progress trying to get support in some technical areas to produce the work - as I could not manage it by myself.

In the masters studio as I discussed the project, Thomas Hogben showed a keen interest in doing particles for the film - something in which he is passionate about. That got the project rolling, and as the new year came there were more frequent meetings about both projects. Mainly director Jeppe bagan chairing meetings and we got 3D modeller, rigger and animator Sang (Sean) Hun Yu involved to make the bats.

Thomas had used one of the plates for a test for his masters project based on light particles travelling in ultra slow motion. I showed his work of light travelling from the headlights of the car in one of the plate and Michal and Jeppe loved it, so we encorporated it into the film. Tom then found time to develop the look of the particles.

Another thought came to mind during one meeting - animation of ants underground was needed. So, I got my friend Brian Lindsay involved. Later to find out that Jeppe and Michal wanted the ants so small you would hardly see them. In the same meeting, I realised that we may need to reconstruct the background when the headlights brighten up the darkness. So, I asked Brian to help painting up a tree for us. Communication and meetings really are important. The input in them and me Thomas and Sean working in the studio have been really important, even for such a small project. This point does need to be stressed to some people.

Primarily I was compositing everything and doing a lot of basic animation and key framing shifting in After Effects. However, by the end of the project, recently, the 'proper' compositing and 'VFX' were involved - rendering and lighting the bats and compositing them, the headlights and trees.

It has been a good team. And these are the type of people I like to work with. And, I am satisfied with the quality of the small project on a short timescale. So, I look forward to the rest of the production of my masters film project with Michal and Jeppe, and others involved.

Now, let's win some awards!

Fleshed-out Script (Update)

So, the script writing process has had me sat down in lively and productive exchanges with collaborators Jeppe Nielsen, Michal Zagorski and Mark Grossi on a couple of occasions. We were basically letting the noggins re-enter the world of the story and tie up all of the lingering issues or thoughts and get a full narrative together using the fairly complex material we had already. It must be said that after two mornings doing just that, and touching up the document in Celtx afterwards both afternoons, we are pleased with the clarity we have at this stage in the script. It just needs tweaked and tweaked, little by little. Any impracticalities or deeper issues will be ironed out, and the piece needs visualised concretely in terms of cinematic shots, shooting locations, scene transitions, the compositing effects explored and the likes. It works as a story first and foremost. So, the next stage is simultaneous script tweaks and storyboarding. Then getting the cast and crew locked before we shoot in May. 

The script I feel is at a stage to share with peers and such for feedback:

Here is the link to view the script on Google Docs (how very lucky are you?) Go on. Have a 'sneak peak'.

Reflection on practice: The plot has a fair amount of twists and turns, but I still feel it is simple and short. In our meetings I always drum in the idea that I am one guy, and can only produce one guy's amount of compositing effects. I wanted to have say three 'main shots' and a limited number of techniques I will focus on in my masters, using this piece. I feel we have produced a script which supports this study plan.

Although, the storyboarding stage will formalise the techniques required and therefore the test shots which are next in the production line along with storyboarding.

We shoot the plates in May. I will then produce as many of the compositing effects required until the end of the programme. Some shots will require no post effects, other than grading. I will display what I have and update my showreel. The shots will work as complete images which hold story in it's composition. This stands as a piece of academic and visual effects work in itself. If there are still shots left or re-shoots to co-ordinate after that then we can continue on with the project succeeding the end date of my masters degree. That is how we work. 

Considering the collaborations involved, and somewhat additionally my prior experience in the field, the roles of this project are well shared and spread at the moment, for me personally. I believe myself to be simply a compositor with a hands-on attention (okay, a heavy one) to the shots he will be compositing.

After doing too much leg work in my previous student film 'My City' where I dug myself a deep hole and had to study and re-write my way out of it (to improve the film) I believe I have a good idea of the essence of what is important to make a film effective, simple and correct and where detail is needed to be spend developing and working on. This means I don't waste as much time, and ultimately feel I will make a better and more audience-orientated piece (moving on from kind of art animation films.) And, I feel I am collaborating in the correct areas and currently developing a bigger crew so the standard of professional practice in my process is progressing.

My Belbin Profile

We got our behaviour within a team results based on our self evaluation questionaire which we answered last week.

My main results were as follows:

Plant - creative, imaginative, unorthodox. Solves difficult problems.
However, ignores incidentals. Too pre-occupied with own thoughts to communicated effectively.

Shaper - Challenging, dynamic, thrives on pressure. Has the drive and courage to overcome obstacles.
However, prone to provocation. Liable to offend others.

Resource investigator - extrovert, enthusiastic, communicative. Explores opportunities. Develops contacts.
However, over-optimistic. Can lose interest once initial enthusiasm has passed

Other results were:

Co-ordinator - mature, confident. Clarifies goals. Brings other people together to promote team discussions.
However, can be seen as manipulative. Offloads personal work.

Monitor evaluator - Serious minded, strategic and discerning. Sees all options. Judges accurately.
However, can lack the drive and ability to inspire others.

Completer finisher.
Specialist.

I am not:

Teamworker - co-operative, mild, perceptive and diplomatic. Listens, builds, averts friction. Indecisive in crunch situations
Implementer - Disciplined, reliable, conservative in habits. A capacity for taking practical steps and actions. Somewhat inflexible. Slow to respond to new possibilities.

Nickname: 
'An explorer' (secondarily a 'maverick')

My thoughts:

So, it is clear to me that everyone reading the descriptions for the profiles and roles can relate to them all in some way. It is a bit like cold reading in a sense but at least there are 9 different options and not just one. 

I took a similar test in 2011 with Dundee-based company Insights. They used a different technique in the questionare and were based more on personality defining, and so the profiles I got back were harsher as this apparently can't be changed it is in your DNA and the way you are, but nonetheless, again, true.

I only had two 'least preferred roles' in the profile, so I practically was competent in them all as the other 7 were either preferred or manageable. They say this is behavioural, or not a personal, evaluation so these things can change in the future. So it is likely, I believe, that these 7 roles will fluctuate in competency or preference through time for me. However, it was a good idea and as I say I do relate to the profiles and it does make you think about your behaviour in a team and where you can fit in, improve or where you are allowed not to be so great or as good as others are if you want to take up a particular role. I like the idea this can also adapt. I would agree with the particular roles I least prefer as these do not 'talk to me' like the others do.

Reflection on Practice and Definition of Animation

Last week we had a tutorial with Sharon Campbell.

At one point we discussed the definition of animation. People seemed to make it very complicated by adding 'emotion' and whatnot into the definition. I made it clear that I believe emotion is separate, but can be applied to animation, however the definition of animation is simply along the lines of:

Visual trickery using frame-rates.

Everything else is applied thereafter to make a film provoke a reaction if it is needed for the piece, for example, entertainment, joy, heartfelt sadness, laughter, and so on...

I feel it is important to separate these things to realise them. The combination created is the most powerful thing, and there are many things to combine.

Sound Design Workshop - Semester 2 Begins

SEMESTER 2 began last week, and it started properly with a sound design workshop on Tuesday. I had done similar things before in the 1st year general foundation art and media course 4 years ago as part of a Time Based Art module over 6 days (including shooting and editing footage) and have since used my skills learned occasionally.

Myself, Ross Douglas and Sarah Gillespie took a clip from Megamind and created sounds for a robot stomping through a city, for example. For this we used a gate crashing, dropping a rubber tile thing from a park, standing on cereal, etc, etc, to create the effect along with some changes within ProTools. It worked incredibly well we thought and we completed the first few seconds of the clip with a feeling of achievement.



I will upload the clip once it is on the net.

Reflection on Practice: One thing I feel about sound, from a filmmaking point of view, based on a comment made by the tutor exclaiming that visuals and sound go 50-50, is that it is very minimal and overwhelmed by the wealth of visual storytelling techniques. Some people say it is 50-50, but I don't see how. Filmmaking is visual storytelling. Film is founded on visuals. Initially film was silent. Radio is founded in sound. As in, film is still a film without sound, however a film without visuals is the radio or a podcast and is no longer a film. Even radio and podcasts don't have the ability by themselves to be filmic.

Visual storytelling is vast. Sizes and placements of objects or characters, angles of the camera, movement, balanced shots, cuts - jump, transtions - dissolve, compositing things together which aren't possible to film... The list goes on and on and on, far and beyond this mild attempt. However, after this workshop it appears that in a couple of hours you can fake sounds very roughly which are effective only to add to the visuals which took months to produce meticulously. This is simply because the sound is syncronised with the timing of the visual (and the timing was produced primarily for the visual to work, not the sound). There is no way that sound can demand a 50 per cent importance in the filmmaking process. It is merely another important element in filmmaking, and I am not saying it is not important - every element of filmmaking is important. It is larger than a dissolve or jump cut, but minuscule in comparison to the visuals and the process of producing them.

When sound is used best is when it is designed in the writing process, such as dialogue or a character hearing a sound from off camera, or associating a sound with one part of the story, for example. That is why I believe in filmmaking, every element needs to be considered to make a well-made and thorough picture, and sound is one of those many, many things.