The first shot: abandoned urban buildings, tall buildings, wide-angle shooting, big scenes
The second shot: The street scene, the building pasted a huge poster, the big title reads “People and zombies coexist peacefully”
The third shot: The city bridge, traffic to traffic (symmetrical shot) the background is the huge night scene of the London Eye
The fourth shot: In a ruins, a plant is growing (simulated time-lapse photography)
I have to say that the biggest problem I had with this project was the ue5 background turning black when rendered.
When I render my scene the background of the display is black, but in the UE5 display window it shows normal.
I consulted Emily and she advised me not to use SkyLight if I have an HDRI background. this renders it so that the background is black.
On top of that, I created a script for an introductory video and here are my lines
My name is liuyifang from visual effects program. I was inspired by the many different colors of coral, so I looked for a lot of reference pictures. I tried to imagine this ocean filled with vivid turquoise and blue colors. Coral reefs flourish in this area, filled with colorful fish and other ocean creatures. Yet another shot focuses on the waning sunlight and the ocean taking on a deeper blue and indigo color. Here are some unique creatures that illuminate the darkness with a fascinating glow. This part was mainly done by me and Negin respectively. For the building aspect of the scene, first I used squares to build the overall layout and shots of the scene. I used maya and c4d to create the basic shape of the coral, especially I used the “volume modeling” in c4d which is very useful for me. Then I use zbrush to add detail to the coral, which makes the object more detailed. I would then look at the general layout in maya to import into ue5 and put all the models together. Finally I use nuke to create bubbles, lights and other effects.
I made two versions of the scene, one to make it look a little more realistic, and the other to make my scene more in keeping with the style of the group as a whole
I had a great time working with the group and would like to work with them again if the opportunity arises! In the beginning, we presented our ideas to each other and we respected each other’s ideas to modify and improve them, which is the most important thing. We don’t argue or just give up, but rather, we improve each other’s ideas and provide each other with good advice.
Here’s a compilation of what we all worked on, with a full showcase video at the end
use the key mix which can allows you to blend two input images together based on a third matte input.
1. Import Footage: Import the footage of the person walking in front of the green screen into Nuke. This will be your Foreground (A).
2. Import Background: Import the background image or footage that you want to replace the green screen with. This will be your Background (B).
3. Create a Matte: Use a Keyer node (like Primatte or Keylight) to key out the green screen and generate a matte that separates the person from the background. This matte will be your Matte
F_ReGrain
I need to match the grain pattern of CGI elements or other composited elements with the grain of the original footage.
Input: F_ReGrain takes several inputs:
when I need to add some visual effects, such as explosions, fire, smoke, or particle effects. Visual effects elements are often created digitally and may lack the natural grain present in live-action footage. F_ReGrain can be used to apply a matching grain pattern to the visual effects elements, ensuring they blend seamlessly with the original footage.
-Develop a matte painting in Photoshop
-Build a 3d environment to project on PSD
Techniques and tips
I tried keying in PS using the pen tool and combining them and finally exporting a psd file into nuke
I did the keying in ps and divided it into three different layers, but I imported it into nuke and realized that one layer was missing. I spent a long time, finally found the reason, because I can’t use the ortho stack in ps, so the effect can’t be applied to the nuke, so in the end can only show two layers in the nuke, in the future, or need to key each picture, in order to achieve the perfect effect.
Finally, I can create a “projected camera” and add “cards” to arrange the position of each layer to make the spatial effect more visible. matte painting is usually used to create large parts of a movie, and I think it’s very useful for me, and I’ll use it in my personal projects.
In this assignment, I followed the steps required by the instructor step by step, which helped me to understand how a complete synthesis process works.
For example,
1. I need to stabilize the lens and add “lens distortion” which is a very important step to reduce the distortion of the lens and make the composite image more professional.
2.clean the markers in the original video clip, by using “rotopaint” and “frame hold” together.
3.Modeling the mechanical model in Maya. At the beginning, gonzalo suggested us to find some reference images, which really helped us to understand the model. In particular, when I was modeling I would look at the reference drawings, which gave me more detail.
4.I used Houdini to create the lightning effect, this was a very challenging step. Houdini is a very difficult software in my opinion, I needed to combine it with some tutorials on the internet to realize my idea, especially the “line” node was very useful.
5.Last but not least I made some ice crunching effects in ue5 and imported them into nuke, but I rendered them without shadows, which made my effects look very fake. So I added another layer in nuke and changed the value of “grade” and added “blur”.
In the future world, humans and zombies have been coexisting with each other for many years. People’s attitudes towards zombies have gradually changed and they are beginning to accept them as part of society. On this day, an ordinary zombie decides to help a grandmother crossing the street, even though he doesn’t need to worry about the dangers of vehicles like humans do. The grandmother smiles at him gratefully and says thank you, and this action makes him late for an important interview.
When he finally made it to the interview, he felt panicked. His brain was no longer as flexible as it used to be, he stumbled over his answers, and he lost all confidence. He felt sure that he had lost his chance at the job; after all, he was an outlier in this human-dominated society.
However, he was wrong. The interviewer announced the result at the end of the interview and he was surprisingly hired! Everyone was very surprised and asked the interviewer why he had chosen a candidate who had performed so poorly.
The interviewer smiled and explained, “Because zombies don’t need to sleep.” He explained that since zombies don’t need to spend as much time sleeping each day as humans do, this zombie would be able to provide the company with more work time and energy. They believe that this potential productivity advantage far outweighs his poor performance in the interview.
Center shot:
When the main character decides to go and help the grandmother cross the street, the camera can follow him and capture his determination and kindness. (Dirty shot with Mr. Zombie’s shoulder in the foreground in relation to the back of the scene for an occlusion)
In the scene where the main character decides to go and help the grandmother cross the street, use a medium camera movement to follow his steps, the
Close-up shot:
When the interviewer announces the hiring of the protagonist, use a close-up close-up to capture the details of the protagonist’s shocked expression and the interviewer’s smile.
Close-ups of the time at the traffic light when the protagonist is helping the grandmother cross the street, highlighting the importance of time at this moment, which is also an important clue throughout the story.
Rapid editing photography:
In the scene where the protagonist is late for the interview, rapid editing is used to alternate between the scene where he is rushing and the scene where the interviewer is waiting, increasing the sense of rhythm and tension. For example, in the scene where the main character is in a hurry, I can use a series of rapid editing shots, including a close-up of the main character holding an alarm clock, a panoramic shot of the main character running down the street, a side shot of a pedestrian on the side of the road, a quick shot of a traffic vehicle, etc. These shots will alternate quickly between the main character holding an alarm clock and the interviewer waiting for him to arrive at the interview. These shots would alternate quickly to emphasize the urgency of the protagonist’s lateness and the challenges he faces.
Meanwhile, at the interview location, I could alternate scenes showing the interviewer waiting with close-ups of his impatient fingers tapping on the desk, side shots of him frowning, close-ups of him looking at his watch, and so on. The quick editing of these shots will increase the tension and anxiety of the audience, making them more engaged in the story and looking forward to the final result.
Finally, when the interviewer explains the reason for the hiring, rapid editing is used to alternately show the interviewer’s words and the protagonist’s facial reactions, increasing the tension and suspense of the plot.
Dynamic camera shooting:
During the interview, the slight shaking of the camera to show the protagonist’s nervousness and uneasiness can convey his inner anxiety more vividly.
I referred to the above YouTube tutorial video on making an undersea effect and it was very useful to me.
Referring to the steps he gave,
1. I first installed the “Water Plugin” and added the water form in my scene.
2. In order to be able to show the colors under the water and simulate the sunlight underwater, I need to add a “box” and add a “post process”, it can be used to adjust the blue color of the whole scene.
3. If I want to make the sea water a little green, I can adjust the “gamma curve”.
This was my first attempt, but it wasn’t very difficult for me because Emily taught us how to create a water material in the first semester.
I tried to tweak the green screen background with the nodes given by gonzalo. Regarding the treatment of the hair, I had to select an “IBK Color” node and choose dark and light colors of G (green) to show as much detail as possible in the hair. I can also use the “Filter erode” to eliminate noise. It’s worth noting that it looks very realistic and I used the Luminance node to subtract the snowflake from the background and place it in the foreground so it looks great.
This week I’m going to look for a lot of reference images of coral models and go with c4d to create the base model and then import it into zbrush to achieve some texture.
First of all, I tried to use c4d to make the base model, using the “volume modeling” in c4d to better simulate the random growth of the coral. Due to some problems with the number of faces, I had to import the model into zbrush to remesh it, which was a very useful way to do it. This was a very useful way to remesh the model, and added a lot of subdivision to add a lot of texture and detail to the surface of the coral.
I tried to use a variety of ways to make different forms of coral. For example, I used zbrush brushes to make the tentacles of the coral and then added textures to them. Also, I used c4d to create the base model and then painted the model with zbrush. Another way is that I use alpha channel and download some alpha maps from the website and use it on the coral model. This gives me very distinctive corals that surprise me.
For terrain, I still use a program called “world creator”. This software is very helpful, I only need to adjust the terrain in the software, and select the terrain features to help me create beautiful terrain details, and finally I export the FBX file to MAYA, which saves a lot of time to create the terrain.
Finally, I put the models all together in maya and added lighting and made a test video using the Arnold renderer. Next I imported them into UE5 to test the undersea filters and lighting to simulate the ocean environment as much as possible.
Green Screen Extraction:
– Correct workflows for Green screen extraction
– Key light node
– Despill techniques
– IBK workflow
– Learn about different techniques for key
– De-grain shots
– Despill the shots
– Lumma key
Luminance Key
we can used the keyer to changed the space of colour.
add: can adjust the data of value to change the dark or white in the picture.
Add Channels:
Key light: it can change the background of video or picture. ( it would be green or other colour )