this week We have learned about constraint and animation. Because keying frame is a little complex, I just create a circle as a controller and using script to links each element together . If I want to change speed at any frames I can only changing one parameter to control all things. Then I used some noise function to control the speed of wheels.
We also learned something about mash. I am also interested in the workflow of the mash UI, however I hardly ever used the mash part in maya, so I will cost more time to know more about these.
This week we almost finished all the methods to remove markers. I will collect all methods by my own understanding and I won’t post some simple way that does not get a great result.
The first method I want to call the High and low-frequency method because this way of the principle is very similar to the PS. The way separate images into two parts by dividing node. One of them records the low-frequency information without detail only having colours and another one has high-frequency detail. Then only changing the high-frequency detail and combining them, we can get a nice result. There is a more advanced skill for fixing the high-frequency detail. I can transfer the original images a little to get similar detail instead of roto paint.
The second way is Roto paint which uses a patch directly to cover the marker. We have an advanced method to track each pixel, smart vector node. The node is different from the track node. the smart vector can analyze each pixel vector information in different channels for each frame. Then the VectorDistort node will transfer raw data of the vector to use by other nodes.
The third way is to fill pixels by unpremult node.
Except the third method is a little different principle from others, the main aim of methods is to cover the marker by other pixels in a specific frame, then track the position to cover the marker in the whole sequence. We use a different way to improve each workflow for saving time and reduce work pressure to avoid painting each frame.
Homework link
This sequence is not easy to track even I tried my best to adjust the colour to extract more contrast. Such as the picture below, the left line I want to divide the picture into two parts and one of the parts will keep colour, another one keep other information. Then I use rotopaint node to cover the marker shape and copy the marker transform position to the rotopaint node. However, the result is not perfect, because the specific marker in cheekbones has obviously changed of shadow and shape deformation. I combine another method to solve certain frames and mix them in end.
For the other 5 markers, I found that if I adjust all tracker positions and each error in different frames, will cost too much time. So I directly use a simple workflow to remove all markers like below. Although there are some node is different with what I learned in class, the principle is the same. I use rotoPaint3 to cover other markers frame by frame.
For adding a texture to the sequence, I directly use a texture and copy tracking information to it, then it works which can attach the face to move.
For the machine example of Mr Nick Savy, I noticed that he added a key to the model UV offset to “cheat” eyes. However, in this way, a UV map is required to unfold to a specific type otherwise, we will get a wired result. Besides, he made a blender shape for the belt and the tiny shaking will make the belt look like working normally.
For myself, I really like to make a steam machine such as the reference images.
Based on the old machine, I will add a belt to it. Now I almost finished half of the model. Such as below:
The steam will push the stick to support power for the wheel. Then I want to add another wheel to change the kinetic energy direction.
The first step for the raw sequence is to denoise for a better result of the track. The reason exports the file and reads again is to reduce the stress of the CPU to save more resources for other important steps.
This Part is for remove light by the roto paint node. Because I don’t export Alpha channel in the RotoPaint1 so I recreate The Roto1 node to draw a alpha shape covering the old one. Then I blur the edge a little and premult RGB with alpha. Finally hold the Frame to keep the image same.
Catching the patch to the footage correctly, I transfer the three point tracker information to the new image which is frameholded.
Once I merge the raw sequence and the patch, I almost get good result. However, the tiny grains is not correct. To see the problem obviously, I need extract the tiny noise. The input sequence is divided into two ways to extract noise and enhanced them. Secondly, select higher value color, which shoule be the noise, to merge. In this process, adding grades and colorcorrect node is helpful for enhance the noise. Then puls the extracted noise to the raw sequence and I can get a specific result to check the tiny grain.
The next stage is removing markers. The princlple is same to solve the different shadow. I want keep the skin detial excpet the color so use divide node to seperate the image which mathmatic should like A/B. Then, I multiply the raw image to merge12 which mathmatic shoule be A/B*B =A. So I get the raw detail and new color on it. However the result is not perfect, I need to change the scale of transform node, the size of blur node, grain node and colorcorrect.
In this group project, my main responsibility is for modelling a seahorse. The seahorse model maintains biological skin so I start it at Zbrush.
Then the similar workflow with the human model building. The model in Zbrush cannot be directly used without UV and it has an extra high polygon. So I made a low polygon model with UV to make it as a base. After inputting the low polygon one and high polygon model into the same subtool I can bake the micro-detail into displacement texture.
Then I export the low polygon model into Mari to paint the skin texture.
To show the different reflections in the subsurface I mix different procedural noise 2D textures.
Then, my classmate Louis told me, we also need some simple animation. I continue to make a skeleton and rig them. Additionally, I build some simple controllers and hide some useless parameters.
This week I started to build the eyes and fur. I build a simple hair shape by low polygon models to check the outline of the head. The, building the amazing eyes which was divide to three parts.
I have already finished some human before, so the workflow is clear for me. After put some lights in the scene, the result such as below:
Compared to before model, I add the micro fur for the face. Maybe it’s hard to recognize, it is actually effect the final result.
During the week I experimented with Nuke’s roto node, roto paint node and tracker node And try to pass the information from the tracker node to the roto mask, so that the roto mask can follow the object’s movement.
Through this week I have learnt the importance of masking in the film industry. A lot of elements in the pre-production work need to be fixed in advance to get a good result.
In this lesson I tried to build a similar interior environment, drawing detailed replacement maps and normal maps. I also used Maya’s fabric system to simulate a wind field.
Due to time constraints, I was not able to add more detail to add realism to the image. But I did get to practice the process of modelling in Maya and even experienced the dynamics module of Maya.
According to The VES handbook of visual effects: Industry-standard VFX practices and procedures, I understand the professional definition of Visual effects and special effects. Furthermore, The book also analyzes the reason and what time should we use the visual effects.
Research the different job roles in the VFX industry:
Runner: It’s a friendly position for a beginner in the VFX industry. The position is not necessary to handle advanced skills and don’t need any experience. Their responsibility is to serve the professional staff and make the environment well. They need to clean the room, prepare tea or cafe, transfer messages between different departments and so on. During this time, the runner also can know more information about the industry and build their knowledge.
prep artist: It’s a foundation job for fixing the footage and preparing all work for advanced visual effects. In my opinion, the mechanized tedious work will cost the compositor’s time, so allowing the newcomer to pre-post the simple problem in the footage is a good way to save the project’s budget.
Roto artist: the position is a little more complex than the prep artist. Roto artists are required to have a higher level of skills to handle some specific issues such as removing certain objects in parts of images. it is different with prep artist who is removing the boom microphones or electric pylons. the Roto artist needs a higher level of artistic sophistication.
Week_3 assignment:
Modelling Artist: The main responsibility of the position is to create digital 3d resources. Advanced modelling artists need to have rich life experience and broad biology knowledge. Such as the characters modelling, the artist needs to know the structure of humans. Even they have some concept references, they also need to decide how to build the detail which is important for the integral image.
Animator: On top of the modelling, the animation requires more skills. The animator needs to learn the principle of animation and make a correspondent rig for models. Furthermore, they also need to make a dozen controllers to achieve a specific action.
Texture artist: The position needs more skill in painting and hand arts. They need to know the principle of physical light and how the light work in a certain render. Besides, they also need to grab the points of different surface types, such as the car paint, metal, skin and so on.
Weekl_4 assignments:
Layout artist: The Layout artist need to determines the position of the virtual camera and they need to know how to set a shot, camera angle or camera path and so on. In 3D animation, they need to make a decision about lens, camera angles and camera movement otherwise, they also need to be directed by the director and learn the desired style of visual photography for the animation. A example of the layout artist is Marta Jimenez https://www.brownbagfilms.com/labs/entry/meet-layout-artist-marta-jimenez-interview, in her interview, she describe what she did for the job of layout artist.
Matchmove artist: The staff’s main responsible is matching computer-generated scenes with shot made by real camera. A good match move artist need to finish a convincingly combined with correct position and angle match, correct shadow and light, even include lens distortion. Such as the video The match move artist need match visual object to the real scene.
Lighting artist: The lighting artist will create a environment in 3D virtual scenes to make them look like real when the virtual match to the camera shoots. They need to change the light colour or place some lights to create a similar atmosphere. As the video shown, the function of lighting artist not only make the object look real but also express characters’ emotion by colour temperature.
CG Supervisor: They need to create a plan in advanced for the VFX work, such as the VFX area in different shot and how to create them. Then, they need make the VFX pipeline to make sure all the CG imagery will be created well. The video, describe what make a good CG Supervisor well.
Look development artist: The staff to make sure the Material look well in other different conditions. A certain surface designed by the concept arts still show different reflect in different environment. The Look development artist have to make sure the surface look good even in raining day or some specific lighting areas. Such as the demo, The Look development artist have to make sure the surface performance well in dark or underwater.
Week_5 assignments:
VFX supervisor: The VFX Supervisor will manage the whole VFX pipeline and they have ultimate responsibility for all the VFX elements. Besides, They also need to help for the relationship between a VFX studio and the director or producer of the film.
Data capture technician: They take photographs of the set and the way the cameras are positioned. They “capture data” about the type of lens type being used, its focal length, filters, focus and colour temperature. They also record the camera height, camera mount and distance between the camera and actor, and other details. And they take photos of surfaces, so that the textures can be recreated digitally later on.
Compositor: They use all the different digital materials, such as computer-generated images, live action footage and matte paintings, and combine them into one cohesive image and shot. Composers consider the visual aspects of a scene. Realistic lighting is one of the keys to this. Anything caused by light hitting the camera is the composer’s responsibility. They relight to improve the look of the image.
Compositing supervisor: The compositing supervisor is responsible for the department that puts together all the different elements of the visual effects shots. They manage the compositors that do this work and check their quality. Composition supervisors are experienced in composing. They organize teams of composers to meet deadlines so that the film or TV production company gets the VFX work on time. They can also composite their own footage if needed.
Week6 assignment:
FX TD: The Effects technical director need create effect temple or tools such as explosions, billowing or smoke and water. Then the arts can directly use these tools to create convincingly scene. The position will fix the technology problems in pipeline.
TD (Assistant technical director): The Assistant technical director need to connect different departments and ask them the question in producing. The occupation like a node to transfer information between different departments and make sure they know each others’ job and problems.
Software developer: The Software developers create systems that the technical director can use and modify to suit to the specific needs of their VFX artists. They also design new digital tools and ensure they fit into existing software systems. This allows assets to be efficiently passed from one VFX process to the next.
Pipeline TD：The Pipeline TD ensures smooth operation of VFX projects by identifying and fixing problems. They communicate with the entire team of VFX artists to understand their needs. They then put things in place to ensure the project runs smoothly and meets the needs of the artists. If the project is not running smoothly, they determine which tool needs to be developed to solve the problem. Problems that arise may be technical issues related to 3D art or productivity issues. Their work includes writing or modifying code to fix the problem.
Week_7 Assignments
i.Rigging TD (rigging technical director) : A Rigging TD is responsible for creating digital skeletons for 3D computer-generated models. They work to program these digital skeletons so that they move in a realistic way, and this is then used by Animators as a basis for their character’s movements.
ii.Creature TD (creature technical director) : the Creature TD work under the direction of the Rigging and Creature CG Supervisors, are responsible for setting up skin, muscle, cloth and hair on our hero-creatures. Tasked primarily to develop and design the tools and setups to tackle the challenges associated with a variety of Creature complex deformations. Our Creature TDs are a balance of technical and creative who are capable of scripting pipeline tools to streamline our shot-making processes.
iii.VFX Producer: The role of a VFX producer in the post-production process is to guide this work through the studio pipeline. The position is varied and involves many aspects. Key characteristics of a successful VFX producer include a business-savvy mindset, strong leadership skills, the ability to multitask, and creative insight. Additionally, a solid foundation in technical knowledge can help a VFX producer play an influential role with key stakeholders throughout a project.
iv.Production Manager: As the VFX Production Manager, they will be responsible for managing artists, schedules, and daily tasks. They will work in conjunction with VFX Producers and VFX Supervisors and They are also important in communicating with the producer of company shooting the live-action footage and producing the film or TV programme.
Week8-10 Assignment
ii.VFX editor: VFX editors work as the link between the film or TV production team, which shoots the live-action footage, and the VFX studio that does the visual effects. They are the person who is overseeing, and responsible for all the visual effects in a production and they must have excellent communication skills, as the job requires the VFX editor to communicate effectively between VFX staff and the editors.
iii.Data input/output (I/O) technician: Data capture technical directors (TDs) go onto the film or TV set to collect the information about the live-action footage that the teams in the VFX studio need to add the visual effects.
iv.Concept artist: Concept art is the first and very critical step in the visual effects pipeline. Creating compelling design not just for creatures and characters but also for environments can mean the difference between a truly great film and a forgettable dud. They draw the characters or creatures and environments as well as vehicles, props and buildings. They begin with a brief, which might be a script, or the original concept of a film as told by its filmmaker.
v.Previs Artist (Previsualisation artist): Previs is a technical service typically done in 3D that allows a production team to realistically lay out or visualise the scenes in a way that technically makes sense. They generally takes the form of a 3D animatics, namely a rough version of a scene or scenes.
Week11 Assignment：
which job role or roles interest me the most and why?
As I said in the first week, The job of Effects technical director(FX TD) was impressive because being an advanced FX TD is my dream for my personal career and this is also the reason why I chose to study computer technology for my bachelor. According to the presentation of Mr Dom Maidlow, the FX TD role need to involve a mix of art and technological competencies.Furthermore, both technical skills and an appreciation for existing animation and effects need to be developed. I understand that FX TD requires a deep technical background, and I’m working hard to build up my knowledge and skills now. Because of my long exposure to a wide variety of the visual effects, I am good at dividing FX shots and mastering the rhythm of production. Another essential factor is the knowledge of scripting languages such as Python and C++ and programming skills dictate that I can be more flexible in creating tools to help with effects work.
