3D Tracking Test

Up until now I have tracked shots with 2D (x and y) movements. Today, I have conducted a 3D tracking test (x, y and z) on the main handheld dolly shot.

This is because I see 3D tracking as a step up from 2D tracking and so I wanted to test my compositing workflow tracked to the Tracker node before the CameraTracker node.

In 2D tracking, you can manually pick one point that you think will track well. Then you copy the translate values to a Transform node on the trackable elements. In 3D tracking, the system picks the points. For this track I chose initially 300 tracking points. This is because the camera moves a real lot. After this, basically, you can export the camera information for rendering 3D elements to composite in 2D pipeline; composite 3D elements within Nuke; or composite 2D elements onto 'Cards' which are connected to the 'camera' in your 3D 'scene'... This give you an idea why I see 3D tracking as a progression up from 2D.

I have placed this 3D sphere into the plate:

(Bottom right)

The majority of work on this shot will consist of 2D roto cleanup and possible additions of subtle atmosphere and fog which are of 2D stock footage. So, I will see what this entails in regard to things looking correct or flat and odd.

Here is the track so far:

I am very pleased with the solve. I have achieved a low Solve Error and it looks good to the (my) eye. It follows the many movements of the camera convincingly. I am quite impressed by the Nuke workflow and output here.

More on this later.

Alleyway Segment For Feedback

Feedback on the composites so far would be very welcome as the are going through the last stages.

You can ignore the colour correction as these are just tests for the 'look' and everything will be graded together in the end.

Latest Pre-vis | 11.06.13

This is the latest for the Masters Show 2013 teaser:

There are certain rhythmic issues in the edit and obviously no finished CG elements as of yet. But, this gives one an update on how the edit looks and how some fully tested and colour corrected shots may look in the final teaser piece.

It is the peer review tomorrow.

More on this later..

Going Live | Guinness Packshot Tweaks

Ross has tweaked the pack shot to a style he has in mind. What is particularly interesting is the idea of the swirls creating the harp on the glass.

This should be finalised soon.

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.

'The Escapist' | Outcome

'THE ESCAPIST' | Music Video Animation Sequence from Fraser Murdoch on Vimeo.

Vivomotion | Ident Test

In order to add to the visual representation of science-based animation company Vivomotion, I have produced some visuals and have started an animated (ident) version. 

Here is a small section as it is so far:

Vivomotion | Ident Test 1 from Fraser Murdoch on Vimeo.

I have tried to show the techniques I can provide - modelling, using mental ray mia shaders and bump maps, mia_roundcorners, ambient occlusion passes, final gathering and other redner settings, HD, image-based lighting, compositing...

'The Escapist' - Basic Pre-Vis

I have emulated the shots in the edit for Time Based Art students Michal (of LittleEarth Productions) and Jeppe's 3rd year music video 'The Escapist':

I have visualised the story with basic pictures (from Googling) animated, and incorporated Thomas Hogben's particle simulations.

The timing is inaccurate; myself and Thomas meet on Friday to develop it, render it and composite it more; the hand-in for the pre-visualisation is next Wednesday; and the final piece will be produced by late January for festival submissions in February.

I am the director of the animation, and I am collaborating with Tom at the moment, with others getting involved later in the process to finalise the sequence. I am compositing the piece and animating in After Effects.

Cling Film Film | Pure Cinema/Suspense Test

I wrote, storyboarded and directed a short test in 'pure cinema' as Alfred Hitchcock defines it. It is fairly long - 12 minutes, and copies the technique of the three shot process over and over, and with the timing it should in theory create suspense. This test was created so I could practice storytelling techniques, so within my masters study such techniques were easy for me so I can concentrate on the likes of compositing more directly.

The film was shot in June 2012, and editing was completed in August 2012. However, due to problems with meeting with the musicians and sound engineers to record the music, there has been a heavy delay in the finishing touches. We hope to record it December of 2012.

Here is the version with no music:

And, here is an example of the the music:

There is also planned to be, and has been rehearsed to have, a play-off between fiddle and saxophone...

Test 1 Video

I have produced a test, one that I have kept you updated with, i order to experiment with the proposed techniques in my masters. The compositing techniques I have tried, have been: filming on green screen, chroma keying with Keylight, integrating a live action character into a CG environment and using some nodes in Nuke.

Here is the outcome with no sound:

Test for MSc | Fraser Murdoch (No Sound) from Fraser Murdoch on Vimeo.

There still might be another version uploaded in the future with sound.

I find the experiment has turned out fairly successfully. Next time I might try to find better ways to key a blurred element and composite some more live action elements into the environment/scene.

I hope to produce more tests next semester for similar reasons - to practice in compositing techniques proposed for my final output, as well as create composites edited as simple and full short film pieces.

Graphic Design Project

A few weeks back I helped a friend shoot a presentation video for level 4 Graphic Design.

Here it is:

Green Screen Test - Edit Progress

I have edited each shot for the green screen test shot on Wednesday down and put the sequence together.

Here is the progress:

Semester 1 Test - Storyboard

I have booked the green screen and photography studio for next week, and arranged to shoot a test there with cinematographer Michal Zagorski, with the performance by Alona Kiricenko. We have also went into details as to how we shall set everything up, and suggestions about character and wardrobe.

It is designed to combine practice in Nuke and other programs, green screening and compositing and using the environment modelling and composites I am collaborating with Lina Ivanova on. 

It is also important that it has influence from cinema's past and has particular looks, such as film noir, pure cinematics... for my studies.

If it were to be completed beyond merely tests, this is the very simple storyline the shots will produce:

These are the first draft storyboard pages.

I also put together a video to show things in a LITTLE more detail. This might do with being a little better, but the information is currently there. 

This is a first draft as well:

Thoughts?...

Silhouetted City..

RED (supinfocom 2011 short film) from RED the moviemakers on Vimeo.

The shapes in the silhouettes, lighting and fog are very appealing for me here. Also, considering the character in there, makes me think about the integration of a live action character in such a texture-less environment, very similar to film noir which I have great interest in..

Dram-Bu-Ie

MPC

I really like their work in post-production.

Desom = Genius?

Great combination of live action and VFX, and all-round good piece:

Hauschka - Radar from Jeff Desom on Vimeo.

X On A Blog

Another reference worth sharing again is X On A Map:

X ON A MAP from Jeff Desom on Vimeo.

It gives me some ideas of the look I want to achieve in live action, but also replicate in the computer. However, keeping in mind narrative of a well-rounded film (it is not yet clear how close to this I am going to design this year - as my project won't be as heavy on live action - as I am still predominantly focussing on VFX practices at DoJ - but for it's feel in these regards are definitely worth noting).

It is also just a good short..

James Desom is worth checking (some great short films of his here...)
___

Also, please excuse the lack of my own work. This will be rectified once I get well, and I get some other things out of the way (well, it better be...)

Roman Composites

...No, The Romans weren't that ahead of their time...

This example demonstrates the realism I aim to go into in my composites.

Kahn's Exeter Short Film from Alex Roman on Vimeo.

It will consist of, for me, simple modelling, but realistic texturing, lighting and camera movement (building on my experience in these areas and hopefully collaborating in most areas also). Then the compositing in Nuke will be the main area of focus - polishing it to the highest degree.

This may be the reference, more closely in time, to some small tests this semester.

My focus also, more likely in the next semester, is the narrative of how these shots are put together with other styles of storytelling combined (but less prevalent). However, my main focus is well executed composites.