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

UH 5; lesson 3, Maya Camera Image Projections

I have found a very simple way to successfully project matte paintings or images onto geometry is as follows;

Assign a lambert to simple geometry.
Assign new material via the colour option box.
In the Hypershade, assign your file (However, right click on this option and it will give you a list of options. Select 'Create As Projection'
In the attributes of the camera you wish to project from, change the Proj. Type to 'perspective', and change the Link To Camera to your desired camera.
Fit type: Match camera film gate.
Back up to Projection Attributes Controls, assign your image by selecting the option box.
Afterwards, select your camera you have just assigned your image to, and 'look through selected'.
Render your scene. Not only will your render time be small, but you will also find your image projected into your geometry perfectly. You can obviously swap and change certain attributes to suit your desired look.

I've only spent 5 minutes doing these few projections. They are all matte paintings and have each been generated based on the outcome I desired.

(Below) Alpha channels of geometry + Main Wall Image Projected

                                                                     

(Below) Renders of projections. NONE OF THESE TEXTURES HAVE BEEN BUMP-MAPPED/UV-MAPPED OR ANY OTHER MODIFICATION WITHIN MAYA. Notice how after each projection is completed, each one can still be seen perfectly through your render camera!

(Below) Wall Objects. When your camera projects, if you have assigned the image projection to the correct wall/object then the projection with travel through other objects be default.

(Below) Bump maps assigned as textures to geometry and final colour over-projections.

Final Renders Complete With Sky.

Tea Break

Having recently submitted two assignments in two days to the University Of Hertfordshire, I have recently had an evening off from working. I lay in bed playing Assassin's Creed III (relevant 'research' for my course of course!) And looked at funny YouTube videos of cats. I also came across a joke that I like;
"If I had 5 ice cubes and 11 apples, how many pancakes can fit on the roof?
... Purple, because aliens don't wear hats."

... Just thought you'd like to know. You've gotta include a little bit of silly in a 'serious' blog, right?

UH 5; lesson 2; Maya Camera Projections

For this Matte Painting project, I must use a piece of geometry and project an image from Maya cameras onto the geometry. I must use Matte Painting techniques to create adequately high-quality images ready for projecting. The Render Camera must move through the 3D scene.

(Below) Research images

(Below) Maya Geometry and Maya playblast rendered through NUKE. ColourCorrect nodes have been applied and the shadows saturation and contrast have been altered slightly, just because I felt like it really.

(Below) Texture images before modification for projection.

UH 7; lesson7; Nuke Compositing/Rat Completion