UH 10; VFX Pt.2. Sherlock Holmes

This particular scene is one of which inspires me greatly. Its nothing fancy, on a global proportion. Its real, gritty, and overall extremely well cinematographised. If I were to create VFX remotely close to this then I will be over the moon!

UH 10; Specialist Visual Effects

For this module, I will be including CG elements into live action footage using Maya and compositing in NUKE.
My idea is to use a colour correct/colour lookup node in NUKE to transform my footage into a night time shot. From here I will complete fluid dynamic fire, sparks and models in Maya.

Create a fluid container. This works fine in either 2d or 3d containers, as the results are the same. However, if your camera moved around that I would recommend using the 3d container, because the last thing you want is for everyone to see that your fire is actually 2d. If you don't have a computer with at least 8GB RAM then it is very likely that playback in the Maya viewport will be severly slowed down if you use a 3d container. But the final results should be worth the time.

Set the base resolution higher in the 2d container for this reason. 3d users- your just going have to live with it I'm afraid. Use a lower base resolution such as 50-75 in order to speed things up.
Size your container appropriately.
With the container selected go to create emitter under the dynamics toolbar. Select the option box, because we need a volume emitter (shape= Sphere.)
Select your container, and go to its attribute editor.

Contents Method - contrary to popular belief, only use density and velocity. Leave temperature and fuel off.

Dynamic Simulation - damp - 0.100
- high detail solve - all grids

Content Details
Density - density scale - 0.650
- Buoyancy - 10.000
- Dissipation - 2.000
- Gradient Force - -60.000 (minus)

Contents Details
Velocity - swirl - 8.000

Contents Details
Turbulence - strength- 0.250

Select your emitter, and go to its attribute editor.
Under the Fluis Emission Turbulence change the Turbulence slider to 2.500. This will create enough noise to disrupt the flow of the fluid.
Play your simulation. 3d users, this may take a while to see the fluid take shape, but be patient. 2d users shouldnt have a problem playing the simulation. When shading your fluid be sure to have your fluid shape visible, as it will be essential in creating the correct shader for your scene.

Select your container, and go to its attribute editor.
Under the Shading tab we must turn off the colour altogether, as we will colour the fluid using the Incandescence. I've also found that accurately shading your fluid in a 3d container is much harder than a 2d container!

Of course, your shading is down to you. To create realistic fire, be sure to pay very close attention to the opacity graph. Small changes can bring subtle alterations which affect the overall look of your fluid.

(Below) My fire rendered at 100 base resolution. If you copy the attributes I have here then your overall outcome should look relatively realistic. This is a 3d container.

(Below) 2d container render.

Tea Break

Tea break? Are you mad!? There's no time for a tea break! Too much to do! Why are you even reading this?

UH 3; Lesson 3; Technical Directioin- FACS Based Rigging

Facial Action Control System is the idea behind simple facial rigging without proving an actual rig. It included using blend shapes in Maya and connecting the blendshapes with NURBS controls.

 Many duplicates of the rat, with completed blendshapes.

UH 3; Lesson 7; Jurassic Park Scene

For this particular module, I am required to recreate the lighting of a movie. The scene must be rendered out in MOV format at 1280x720 size and must be no less than 5 seconds, no more than 10 seconds. It must include a character moving through the scene or another character which will be lit appropriately.
(Below) The scene I will be recreating (10 seconds)

My specialist VFX module will be based on the first major scene in Jurassic Park (1993) that features the formidable Tyrannosaurus Rex. Not only is this my favorite movie ever made and therefore has a special little place in my heart, it is also a relatively simple scene in terms of 3D modelling and challenges my lighting skills within Maya. The scene above is what I will be recreating... Unless my mind changes in the next week or so!

(Below) Concept Paintings and 3D models of Tyrannosaurus.

(Below) 3D Model of set, prop and dinosaur. (DeviantArt; All credit to the modeller(s).)

UH 8; Lesson 4; Organic Rigging

Organic Rigging

(Below) The model I will be organically Rigging. With hopefully include FACS (Facial Action Coding System) and facial Rigging.

Creating an IK-solver based rig will make most rigs look more organic, and will produce a user-friendly user interface of which will be better to animate with. For instance, I have found that using NURBS controls with parent/orient constrains are much more animator friendly when they are connected to the World axis.

(I was creating a back control NURBS system and when I zoomed out I found this. I took a screenshot because I thought it was funny. You think so too, don't kid yourself...)

UH 8, Lesson 2; Mechanical Rigging

I will be rigging a mechanical figure before mocing onto organic creatures. This way I can become re-accostomed to IK Handles and Outliner Parenting again. I studied mechanical Rigging in some detail last year when I made a rough render of a Lightbulb Spider. I'll upload that to this post shortly.

Mechanical Rigging

I will be using a robot model to rig firstly. I will take a few snapshot print screens for added benefit> These will show how I am parenting certain things into groups too.

(below) Model I will be mechanically Rigging first.

- Model provided by TurboSquid