Category: Term 1

Collectively as a group we are working to create a short film. We started with deciding on a concept and creating a story-board, a few students presented their ideas and we did a vote to decide on the subject.

The idea follows the protagonist who orders glasses from the dark web. She receives them and when putting them on notices that the world around her changes. The short follows her journey seeing the weird and creepy things previously hidden in the streets of London.

I joined a day of filming with my classmates, but more specifically, I am working on replicating the sculpture in Golden Square in Zbrush, then rigging and animating it.

I started the model in Zbrush, using a basic pre-made base model of a male human body. Then using the mask tool and rotate, I repositioned the figure to match the statue.

Starting with the shawl/cape, I extruded the rough shape off the body then used the Standard and DamStandard tools mainly to carve out the shape according to the reference photo. I essentially repeated this with all elements of clothing and hair on the statue, continuously going back and forth with the reference photos to get the most accurate look.

The model is completed in Zbrush, although I need to re-mesh the topology, as I will be animating the face in Maya. This means I could lose some detail, so will most likely have to go back in and add it.

Right now, the body is one Subtool, I will attempt to separate the head into its own layer therefore allowing me to only need to re-topologize the face.

I experimented with the texture and lighting in Maya, seeing how it would render.

I used a few blend shapes and did some basic rigging of the head to create a short animation. At the moment it is okay, but I will discuss with the creative directors to ensure it is the right aesthetic/look.

I needed to fix the eyelids, I did this with my tutors help.

• 

• 

After discussing with my tutor, I was shown how to colour and light match my model to the footage in Maya. That is what I am currently working on.

WEEK 3, 4 & 5: Theory & introduction to the Nuke interface

We were initially introduced to the concept of Cinematography, and it’s relevance to Visual Effects artists and Animators. More specifically regarding cameras, we went through the basics, including exposure, aperture, camera shutter, ISO etc and what each of them mean.

We also discussed the ‘depth of field’ and the factors that affect it, and concluding with how these factors can help to achieve The Cinematic Look

We were introduced to the concept of mise-en-scene, and the importance of the film-maker to convey meaning and mood through composition. To make a successful composition, the Ruse of Thirds is often referred to. It acts as a guide to place essential elements in the shot.

We also looked at shot selection, a way in which filmmakers have categorised different shots depending on the size of the elements in frame, from close up to medium to full shot, and when they are appropriate to use.

The use of light was also discussed, in particular the intensity and quality of it. The two main categories being Hard and Soft light. We looked at examples of these.

After learning all the theory, we were introduced and became familiar with the Nuke interface.

WEEK 6: Rotoscoping

This week we learnt the basics of rotoscoping in Nuke. We were intorduced to the Roto node, and how to organise our workspace.

Rotoscoping is the technique of manually creating a matte for an element on a live-action plate, in order for it to be composited onto another background.

We create these ‘mattes’ as an alpha channel, to match the motion on the footage. We were working on a plate of a running man, I attempted to rotoscope the feet first, we were introduced to the different bezier tools we could use to draw around our objects. It ended up being a frame by frame job, and very time-consuming so I will continue the roto at a later date.

WEEK 7: Merging and Colour

We firstly learnt the basis of ‘Pre-multiplication’ in Nuke, and when we would need to apply this to our plate. Before any Merge takes place you must check if the image is pre-multiplied, and when applying a ColourCorrect you must un-premult.

We then covered the different Merging Operations, including mask, stencil, overlay etc.

Additionally we were introduced to the Grading Nodes, in particular we used the Grade and ColourCorrect options.

The method in which to colour correct a plate is to initially balance out the primary colour, then the secondary colours, and finally the shadows.

We were tasked with seamlessly blending a plane onto a dusk backdrop, using the colour correction nodes we had learnt. The image needed to be unpremultiplied first, then I used Grade to..

I then used the ColourCorrect to affect the shadows, highlights and mid-tones. Using the picker to try and correspond the colours in the backdrop to the plane. I assumed the highlights and mid-tones would be more vlue tinged, whereas the shadows would lean more towards orange.

I feel it is quite difficult to get an accurate colour on the image. It is too red tinged at the moment, It should be more subtly orange in my opinion.

WEEK 8: 2D Tracking

This week we attempted 2D tracking. We were tasked with replacing the green screen on the phone with an image.

Firstly, I tracked the 4 corners of the phone with the tracker tool, then exported them to create a ‘CornerPin2D‘ node to apply to the new image. This allows the image to follow the same track.

Once completed, I used the transform tool to get an accurate overlay on the green screen. I am finding it difficult to get the exact fit, particularly around the top of the phone, where parts of the green can still be seen. I used EdgeBlur to create a seamless look to the screen.

I then copied the plate, and rotoscoped all three fingers that go over the screen, using the Bezier tool to ensure the shape is accurate. Then used a premultiply and merge to get the correct layering of the clip.

After roughly rotoscoping the fingers, I went back to ensure that each frame was done well, then used the EdgeBlur to create a softer and more realistic look.

WEEK 9-10: Planar Tracking

We started this class with discussing the importance of grouping in Nuke, with transforms and grades separated in order not to disrupt the plate, and to preserve the quality.

We also looked at the BBOX (Bounding Box), it is important in showing us the area that Nuke is calculating within, in order to consistently keep the right size plate we must pay attention to it. We were shown ways in which to control it, for example using ‘crop’ before merging elements and using a ‘roto’ changing the settings to A side etc. This ensures your script is kept light.

We then looked at the ‘shuffle’ node, and ways in which it gets used. For example changing the RGB colour output, and applying the depth of an image to the alpha. It allows you to work on separate channels.

In terms of planar tracking, we were shown how to replace the posters on a street view. It also had elements that needed to be cut out from in front of the footage, then rotoscoped back onto it.

WEEK 1:

CAMDEN:

Our first class introduced us to the interface of 3DE, we became familiar with the layout of the software.

We used footage of a scene at Camden Locks, in which we had to map out the various layers in the shot as the camera was moving. We firstly used the Track tool to place points in the scene. The method of choosing these areas came down to identifying a high-contrast ‘pattern’ in which the point could be efficiently tracked. A method in which to create a good pattern is to utilise the image controls, for example creating high contrast and saturation to enable a point to track accurately. We did this methodically throughout the scene.

At some points we would track backwards, for example when doing the footpath. This is because it was easier to work backwards when certain views come in and out of shot. We also did this for the background, where the window frames were. This is again because these points come in and out of frame during the video.

Once the clip is successfully tracked throughout, we would select all the tracks and ‘calc all‘. This puts the points into 3D space, which we can analyse through the deviation graph.

Looking at the graph we can spot any erratic points, and therefore fix them. There are multiple ways we could fix this, I could turn off that particular point, move the point in frame or completely re-do the point. Whenever we make a change we must ‘calc all‘ again. The aim is to get the accuracy percentage as high as possible.

WEEK 2:

IRON MAN HELMET: Rotomation and Body Tracking

This week we planned to track footage of a man on the street. We edited the footage, to make it easier to see, and ensured the scene was saved correctly.

Next, we export buffer compression to ensure the clip plays back at full speed and now we can start our track. Firstly, starting with the background, we created two point groups, ‘camera track’ and ‘face track’.

Starting the track, we enabled the image controls to get the correct contrast on our footage, in order to create a sufficient pattern for our tracking points. The camera was stable, so with enough contrast we were able to get a lot done.

Next we tracked the harder parts of the shot, particularly when people are walking across. We just started and ended the track where needed, and adjusted the pattern. When completed, we applied calc all and assessed in the deviation browser, fixing any problem points that we can see. The aim is to get under 1.0 and above 0.0.

In the lens settings we input the correct camera information including lens information and camera constraints, then calculated again. We ‘adjust’ the focal length, in the parameter adjustment tab, using adaptive and calculating all.

We then clicked on the Face Track point group. Adding tracked points where needed, starting at the hairline.

Once all points were tracked on the head, we went through the same steps as before to ensure they were successfully done.

When calculated, we exported our work as a MEL Script, which we then opened in Maya. Also importing a 3D model of an Iron Man helmet and an image plane, with our footage. Then we moved the helmet over the mans head.

Once aligned, we export the helmet in the correct position, then on the Face Track point group we imported the model into 3DE. In the lineup viewport, we selected all our face tracks, then projected the points on the 3D model. Finally, calculating all from scratch.

We ensured that the track was accurate with the deviation browser, turning any erratic points to ‘survey’.

Next we would render out our footage and open it in Nuke.

WEEK 1

Table:

We started learning basic modelling techniques using Maya. Following an example of a wooden table which will later be implemented into an old-style cottage.

Firstly, we created a 3D polygon cube manipulating this to resemble a plank. We were introduced to the Edge Loop and Sculpt tools, utilising them both to create an accurate and organic model, then creating accurate UV-maps in the UV editor. Using this finished plank, we duplicated it and created the other elements needed in a table.

I used a wooden texture, edited in Photoshop, and applied it to the model. I created variation on the textures of each plank using the UV editor and the Sculpt tool.

We were set a task to attempt to create a chair using the same methods we had learn for the following week.

I created a chair using the same method of manipulating polygon primitives to achieve the desired look.

WEEK 2

Kitchen:

This week we started modelling the cottage scene. The first stage would be working on the kitchen, more specifically the sink. We used polygon primitives and the extrude tool to create the basin, rounding off the edges with edge loops.

For the drain I started with a cylinder, scaled to the correct size then created more geometry on the shape in order to extrude the correct parts. Cutting out the appropriate faces, and using the edge loop tool I achieved a roundness of the edges.

After completing the sink, we worked on creating the scene. This involved using planes for the walls and floor, and re-using the wooden plank to create both the counter and the window frame. I changed the UV maps and used the sculpt tool to create variation with each model.

Using the Sky Dome, we imported a HDRI of the woods, manipulating the exposure and lighting to achieve the look I was after. We consequently we needed to create light portals on both windows to direct the sky dome light into the room realistically.

Using NURBS:

We were introduced to the use of NURBS vs Polygons in this class, I understand that NURBS consider the surface of an object. Firstly we compared the difference of using a Boolean on a polygon and Intersect on NURBS. We understood the advantages of this were to create ‘live’ objects, where editing them becomes easier.

With this knowledge we created a vase-like shape.

WEEK 3

Bread:

This session, we learnt how to create bread. Again, using a sphere polygon primitive and the lattice tool, we molded it into approximately the right shape for a loaf of bread. We found textures online that fit the look we were after.

Using the UV Editor, I manipulated the UV’s to be consistent throughout the object, this involved unfolding the existing UV’s and using the cut & sew tools to re-create them. Therefore when applying the bread texture it immediately had a realistic finish.

The next step was to add the texture maps. We did this by importing bump and displacement maps using the hypershade. Then going in with the sculpting tool to replicate an organic finish to the bread.

Once done, we used a Boolean Difference to cut the bread, then a Boolean Intersect to create a slice. This needed to be edited in the UV Editor, again unfolding and organising the existing UV’s to achieve a seamless application of the texture.

We then added the bump and displacement maps to the slice, using the tools to adjust the intensity of these. The next step was to create the board our bread would sit on. I used a cylinder alongside the edge loop and extrusion tool to create the desired effect. Then I imported a wooden texture, after sorting the UV maps for the board.

I decided that the slice needed more adjusting in the UV Editor to avoid the texture compressing in the wrong areas.

Lighting & Rendering

After I was happy with the look of my model, I needed to check the lighting of what I had created. Using the Arnold render I could try out various impacts of lighting on the bread- from a sky dome, to a spot light. This helped me decide what settings of the displacement and bump maps were needed to achieve a more realistic look. I decided the bread needed a higher roughness and the board needed more surface shine to look polished.

I then imported my bread into the kitchen scene. Playing with the placement and lighting in the Arnold renderer to create a seamless and realistic image.

I experimented with intensity of light on the bread, deciding that a softer look was better. I still need to work on the overall scene, I will try to fix the exposure of the light outside the window, without creating too dark of an environment inside. I also think the bread could do with more adjustment on the UV map, as the slice texture still looks slightly off. The softer lighting helps to detract from this.

Tap:

To model the tap for the sink we sourced a good reference photo that fit the aesthetic of the cottage scene. The first step was to create a polygon cylinder, which I manipulated with the extrusion tool and edge loops.

Going back and forth between the reference photo and my model I manipulated the vertex and edges to extrude into the correct shape, also using the edge loop tool to do the same.

I created the lower half of the tap using one polygon that had been manipulated, then I used a different polygon primitive cylinder to model the handle. This would make it easier in terms of cleaning up the UV’s later.

I made a polygon sphere and added the correct geometry so that I could extrude the handles. Then adding an edge loop to create the right curve at the end.

I briefly sorted out the UV’s for the tap, this involved sewing the shape together then cutting along the bottom edge so that it would unfold accurately. Then using a brushed metal texture from google, I imported it onto my model and played around with the placement of it.

I then imported the tap into the kitchen scene, duplicating it to make two, and rendering it out to see what effect the lighting has. I should add a bump map to the model to create a realistic texture to the image, the roughness needed to be raised a little also. I noticed that I did not like the shape of the funnel on the tap, so re-modelled it to create more of a rounded effect.

WEEK 4:

CV Curve Tool:

This week we were introduced to the CV Curve Tool. Using it to draw a section of the object we wanted to create then manipulating it with the Surface tools, we used both loft and revolve.

Firstly we created a glass bottle. I drew the basic quarter section of the object, modifying it to meet the look I wanted. Then simply using the revolve on the outline, making sure the appropriate settings were on. I now had a bottle, going back and forth between the outline and object to create an accurate shape, then adding a pre-made green glass texture. I rendered this out to check the aesthetic so far.

I would ideally like to create liquid to go inside the bottle, I will come back to this.

Using the same tool, we then created curtains for the scene. Drawing an outline for the folds and then duplicating it. Placing the outlines at the correct height we used the loft tool to create the model, again tweaking the depth of the folds to an accurate appearance.

Next I found a texture that I liked for the curtains, importing it into the scene. I took the specular setting down and the transmission higher, this created a translucency and roughness to the fabric that I liked. I continued experimenting with these settings and the lighting in the scene.

I used the Nodes in the Hypershade apply the same texture map to the diffusion, this enabled a nice glow

When looking at the renders, I saw that the window sill was too smooth and reflective for the look I wanted. So I brought the roughness up and added a bump map to create a grain in the wood. The glow from the curtains is too strong and not diffused enough, I will need to adapy these settings.

Fireplace in Mudbox:

We were also introduced to MudBox. We created the simple polygon shape of a fireplace in Maya, cleaning up the UV’s to a good standard to then imported the file into Mudbox.

We found a good brick/stone image to act as our texture for the model. We edited the image in Photoshop, so that the matte had sharp contrast between black and white in order to create a realistic 3D texture extrusion in Mudbox.

We did not continue this model, I may come back to it later if I can. It needs to be imported into Maya, I would need to check the UV’s and work on texturing it correctly.

Knife:

I wanted to create a bread knife for the scene and found a good reference photo. Initially I used a polygon cube to create the blade. Adding more geometry to the shape, then extruding the correct faces and scaling them to create the serrated edge.

I also used a polygon cube to create the handle, again extruding the correct faces to create the shape I wanted. I also used edge loops to round of the edges, also manipulating the vertices to mirror the curve at the end of the handle.

I manipulated the UV’s and added a wooden texture to my handle, I have noticed some stretching that I will need to go in to fix.

Upon inspection and after speaking with my tutor there was a better way to create the blade for the knife. Firstly, we work on one blade individually to get the most accuracy. Creating a cube and scaling it to the appropriate shape, then manipulating the edges and vertices to create a smooth indent to the serrated edge.

Then using the mirror tool to replicate the blade, this tool was useful as it allowed me to efficiently model the whole knife as one object. Then using the edges to round off the end of the blade accurately.

Once happy with the new blade, I placed it onto the handle, then added a metal texture to it. The model felt much more accurate now, the added detail in the serration was needed.

Candle:

I then wanted to create a candle to fit the aesthetic of the scene, I found a good reference pictures to inspire me.

I created the candle holder first, using the CV Curve Tool we learnt this week. I drew the outline and used the revolve setting, again manipulating it back and forth to get an accurate shape.

I then started modelling the candle. I created a cylinder and added geometry, enough to create the melted wax I was envisioning.

I used the extrude tool to manipulate the shape roughly, then tweaked each droplet using the vertex points and edges. Going between hard and soft surface, I tried to keep the geometry correct.

I’m not sure if this is the most efficient way of creating a candle, so I will discuss with the tutor at the next class.

I used the Arnold wax texture on the candle, and the chrome metal for the holder. I then rendered out a few images to see what the aesthetic was in my scene. I have decided that the wax is slightly too opaque so I will play around with the transmission. I also will add my own texture to the candle holder, as I am looking for a more rustic/worn look.

I like the effect I have created with the melting wax, however there are some areas that I believe need more sculpting, to achieve a more realistic image. The lower part needs to be bigger, and the melted droplets need to be more varied in size, ideally I would also add excess melted wax droplets to the candle holder.

WEEK 5

I created a few pots and pans using reference photos from Google. Primarily using the UV Curve tool to create the cylindrical shapes.

The large pan lid does need a bit more adjustment on the UV Curve, as I think the top is slightly too protruded.

Upon reflection I want to add crumbs to the bread plate and cupboards underneath the sink and shelf for a more realistic look.

Bust (Zbrush):

This week we learnt how to sculpt in Zbrush. We were tasked with creating a bust to put into our kitchen scene. We first got familiar with the interface, and more specifically we were introduced to the DamStandard and Surface tools.

I used a male head plane to start the sculpture. Firstly focusing on the overall head shape, using the smooth tool to mold it. I started sculpting the nose and mouth first, getting the overall shape I was after, then using the DamStandard tool to add the finer details.

Going back and forth with the intensity and size of the tool, I sculpted all the features. I also attempted to create eyelashes and eyebrows, I’m not sure it was the most efficient method using the DamStandard tool, but I was unsure what else I could use at the time.

After completing the specific features, upon reflection I needed to adjust the face shape and skin. The eyes needed to be deeper set and the mouth and nose bridge were too prominent. Using the move tool with a mask, I adjusted these to fit the look I was after. The cheekbones needed more definition, under the eyes and mouth too. I am still seeing issues with the mouth as I feel it looks too ‘pouty’, this is something I will fix later.

Once completed, I used the Subtool bar to create an additional layer of a sphere to start modelling the hair. I started sculpting the curls with the Surface and DamStandard tools.

Once completed to a standard I was happy with I exported the model as an .obj and imported it into Maya.

I played around with the textures, deciding between having wet clay or stone. I rendered out some quick images to see how the sculpture would look in the lighting.

I decided the window sill may be an ideal place for the bust. I did a quick render to see if I liked the composition, overall I am happy with it although I think some details of the model need to be sculpted better in Zbrush, particularly around the eyes.

I also noticed that I need to fix the UV maps on the walls, the texture on the taps and the diffusion of the curtains to make a more realistic image.

With some reference images, I created a simple stand for the bust using the UV Curve Tool and Revolve. Then extruding some of the faces to create a pattern.

The bust needs to be smaller and I still want to work on the diffusion of the curtains. I also noticed that the HDRI needs to be rotated as I think the trees look too close to the windows.

WEEK 6:

Rigging & Animating:

This week we were introduced to the principles of animation and rigging.

We created a set of stairs using the UV Curve tool and loft, then modelled two balls that we would animate rolling down. We created key frames at each drop, then used the graph editor to ensure the animation had the correct type of bounce.

In terms of rigging, we firstly created a very simple polygonal man. Organising the ‘parenting’ in the outliner as we were modelling. For example, creating the hips, stomach, chest and head, in this order parented to the one above. This meant that the ‘child‘ polygon would always follow the ‘parent‘.

We followed this method for all the body parts, arms, legs and hands etc. Once organised and correctly labelled, we created the Skeleton with the joints tool, firstly doing the legs. Then to act as a handle we created a nurbs curve to go around the hips.

We used a fully rigged man to create a short animation, picking up a ball and looking at it, we learnt how to use the constraint tools. I created key frames of the poses I was after, then used the graph editor to ensure a seamless animation.

I think the animation would need more work, I can see an issue with the right knee.

WEEK 7

Head Animation & Rigging:

This week we used a model of a head to rig and animate.

We organised the layers and ensured everything was in the correct hierarchy.

Firstly we were introduced to the Shape Editor, which enabled us to ‘blend’ objects from one shape to another. We used this tool to create expressions on our model that are animated with the slider.

We also input skeleton joints, for the head, neck and jaw then created NURBS controls for these in order to rig the model.

From here we were shown how to use the ‘Paint Skin Weight’ in order to distribute the strength of the joint controls correctly on the face.

With my tutors help the face was accurately painted, so that the mouth correctly opened. We also used the Skin Hammer tool to add details, ensuring symmetry was achieved.

Once completed, we created limitations to the controls in the attribute editor for the parented NURBS controls. This ensured the mouth/head could only move to a certain extent.

Now in the Shape Editor again, we created a ‘lip squash‘ where the mouth is pressed together. We were introduced to the Set Driven Key, which acts similarly to the parenting constraint. We would set the NURBS jaw control as the driver for the lip squash blend shape (acting as the driven).

This meant when the jaw control was moved, it was also affect the lip squash simultaneously.

We were informed this is a tool to help facial animation without creating many key frames.

Using this same principle I worked on the chin/cheek movements as the models mouth opened, creating a basic animation.

I still need to work on the timing of the animation, I think the mouth moves too slowly.

Kitchen Scene:

I added the chairs to the kitchen scene.

WEEK 8:

We continued to work on the face, using the blend shapes to add detail to the facial expressions.

I was attempting to create 3 expressions; anger, disgust and happiness.

After successfully creating an animation, I started to work on the texture & lighting. Firstly importing the correct images for the face, then using the bump map to create texture on the skin.

We used the base skin map and edited it in Photoshop to add subsurface colour and texture, like veins and scars. We imported this and played with the effects of it. Additionally, we added a red subsurface colour to the ears, and back-lit them. This gave the desired translucent affect.

Once happy with it, I lit the scene using spotlights, and rendered an image sequence.

Next I worked on the animation of my bust to go into the kitchen scene. I started by creating BlendShapes in the Shape Editor, I am planning to create an animation of a sigh.

I also had to go back into ZBrush to clean up the polygons on the mesh, as they needed to be significantly reduced in order to sculpt and skin paint effectively.

I also rigged the head with Joints, then used the ‘bind skin’ tool to connect it with my model.

Once sufficiently rigged, and with enough face shapes I attempted to animate the bust. I still need to work on this animation, I am finding it quite difficult to get the exact timing right, I may need a reference video to help me and I will also speak to my tutor tomorrow.

I spoke with my tutor, it was decided that the expressions needed to be more obvious. He showed me an effective way of creating wrinkles with the sculpt tools, and ways in which the face would move with a sad expression.

He also showed me how to correctly group the bust and stand, in order to easily move and edit it when imported into the kitchen scene.

I also decided that the animation felt better without the jumps.

I used ncloth to create a blanket falling off the chair. When relatively happy with the shape, I used the sculpt tool to refine it then added a velvet texture onto the model.

The velvet texture doesn’t look quite right, particularly on the floor- this is something I will come back to.

WEEK 9:

I have been working on creating a short clip of the kitchen scene, and did a short playblast of a potential pan of the room.

I rendered out my camera, however the quality is not great. I am currently rendering the shot again with better settings, however it is taking longer than anticipated. I also changed the velvet blanket, using the sculpt tools to make it look more natural.

Overall I have enjoyed this module so far, particularly the use of Maya and Zbrush. Considering I had very little knowledge in these software before, I am happy with the skills I have learnt.