This video shows the current state of my work on Colin Andrews' film for the Scottish Arts Council which is being produced at the Visual Effects Research Laboratory in association with North Sea Screen Partners.
I rendered this long sequence in Nuke to give me a chance to make notes on all the things which need to be fixed before I can begin moving toward a believable comp. One of the most obvious problems is the fact that there is no geometry to catch the projection of the smoke and flame which extend beyond the house. After fixing alignment issues and patching missing detail on the house before the burn, it will be the extra smoke and flame catching geometry that I move on to. Making a rough comp with all the projections roughly in place should give me a better idea of what I can get away with and which areas will need the most detailed work.
Dylan Gauld, a 3D artist on the MSc course, is working on a more detailed pass on the house geometry based on the witness cameras and location measurements. Once this is completed he will begin with basic deformations of the model, for this I will supply him with key frames from the live action plates. This will allow me to tweak the timing of the deformation in Nuke as the inbetweens will not be baked out to the animation. It would be inefficient to ask Dylan to model the skeleton and high detail degradation of the house so any holes in the geometry will have to be rotomasked. I plan to animate the smoke and flame catching geometry in Nuke with polygon primitives.
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| A pan and tile set from the location converted to a single latlong image. |
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| The OpenGL view from the render camera showing the 3D geometry and projections which include four perspective projections of the burning house footage and a spherical projection of the latlong still. |
| The projection setup in 3D space, with and without the background geometry. |
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| The Nuke node tree has two scanline renders of the 3D scene, one for the house and one for the background. Additional elements will continue to be merged this way to allow for flexibility in compositing. |
Hey Matt,
ReplyDeleteThis is looking really good! Quite a nice turn-around so far.
One thing I was going to add, the Maya scene you gave me with the images attached to cameras. I was having trouble remodelling the house from that, as I cant move the cameras, zoom in for detail etc.
Do you think it would be ok to load the four images as actual image planes, and just work with a standard camera? I.E. add all the detail and geometry first, then see how it looks.
Just thinking it might be hard to use those preset cameras without being able to zoom in...
Sure man, choose whatever suits you best. I would lock those original cameras and use the perspective cameras or additional cameras so you can check the original line up when you need to. There is an option in the image plane attribute editor to make it fixed rather than attached to camera. I may have given you the wrong film back for the camera, it's 6.97mm x 3.92mm with a focal length of 12mm.
ReplyDeleteThanks!