week 5 personal project concept

This week I’m talking to Klaus about an idea for my final project. The theme I was thinking about for my personal project was about urban zombies. I wanted to make some videos about cities and then create a scene of an abandoned city and put zombie models in it. But after talking with Klaus I thought that my story could have many possibilities and his ideas helped me a lot.

In the beginning, I only envisioned the horror side of zombies, but Klaus taught me how to think about things from multiple perspectives, how to tell a funny “joke”, and I had to create an eye-catching video in a short period of time, which was a huge challenge for me.

I needed to do more than just show my zombies and my scenes, I needed to organize my beginning, middle and end. For example, I could design a scene of a gentleman zombie walking in a ruined city with a tie on, he meets the zombie lady who makes him fall in love at first sight, he likes the way the zombie lady has only one eyeball and the other hand is about to drop, and the way he shows his love is by parting a little bit of his own brain to the zombie lady.

Another story is that a zombie was walking down the road while he saw a dog and he was happy to see the dog sitting nicely on the side of the road. He walks up to the dog, pets it, and gives the dog a bone of his own. However after the dog eats it, he excitedly chases the zombie and proceeds to rip off his other arm, scaring the zombie into running away.

Next I want to create a story about “Zombies at Work”, which is many years from now, when zombies and humans live together in this world. One day, a zombie goes to help a grandmother crossing the street and delays the interview and stumbles over the questions, but in the end he wins the interview. The answer given by the interviewer is: “Because zombies don’t need to sleep.”

WEEK 5 VFX WORKSHOP ABOUT 3D EQUALIZER

  • When I use F2 and F5 I can check the camera distortion.
  • Step 01 :Using the helmet project as an example, when I finished tracking the first scene, I needed to continue tracking the character’s head. However, this time I need to create another new folder inside “points” and I will be able to use a completely new tracking point to complete the tracking.
F5 2D view / F6 3D view
open the transform,which can change the position of the helmet.
  • Step 02 : When I finish the FBX import of the helmet, I need to move it around and see if it’s accurate. In this case, I can use “Open New Window” in “Window” to show both 2D and 3D interface. Then click on “project point in 3D models” to match the tracking points I made earlier to the helmet, creating a simulation of the helmet and following the movement of the character’s head. And click “alt + c” to create result.
  • Step 03 : After I have tracked the head of the character, I will use the “export file as maya” and import it into maya, I can clearly see the position of the simulated helmet, so I can import the FBX model to match the simulated helmet. Note: Always use symmetrical tracking points when tracking a character’s head.
  • Important thing:click image controls enabled can adjust data of image. otherwise you can’t see the change of color.

WEEK 4 COLLABORATE WITH OUR GROUP

We’ve had two meetings this week and it was decided that our theme should be more realistic, so I’m not going to go with my previous proposal. And after a lot of discussion, we’ve decided to focus on the “visual poetry” of modeling the scenes and animating the renderings.

the process of project in MIRO ↓

Here’s what Poppy(she from the 2D animation) wrote about the poem that we’ll be focusing on to animate the scene.

Our beating heart

Many of us
Do not know
What’s inside our sea
90 per cent still
remains a mystery

For example did you know
That our world is mostly ocean?
And that its water is always moving
Constantly in motion

That its floor has many levels
And that it is many shades of blue
That most of it is dark
And that it holds the most life too

From the largest to the smallest
Creatures you will find
Some of them extraordinary
Some will blow your mind

Like the Manta Ray
The smartest of them all
Or the Giant Squid
Or Octupi that crawl

But it is not only creatures
That are living in the deep
There is so much more to ocean life
That we need to keep

It is like our beating heart
Or the blood beneath our skin
We cannot live without it
And all it holds within

After the third meeting, we will draw our own version of the story. Below are the content of the shots and story sketches I’ve conceptualized.

  • A vertical shot showing multiple layers of the ocean from top to bottom, divided into three layers: the sunlit zone, the twilight zone, and the abyssal zone (This part, I’m going to I create part of the 3D model and finally put it into nuke for compositing).
  • 01/ Sunlit Zone: The area is alive with vivid turquoise and azure hues. Coral reefs thrive in this area, filled with colorful fish and other marine life.
  • 02/ Twilight Zone:The sunlight diminishes and the ocean takes on a deeper blue and indigo color. Unique and often bizarre organisms, and some glowing creatures, illuminate the darkness with a mesmerizing glow.
  • 03/ Abyssal Zone:The colors here are muted and life is sparse. However, even in this extreme environment, certain organisms, such as lamellipods and extreme microorganisms, have adapted to the high pressures and cold temperatures of the seabed, and yet here emerges a fantastical underwater city

After a fourth meeting to discuss this, we agreed that the last storyboard would be modified to be more realistic. However, I’m working with another 3D animation student called Negin, and together we’re going to finish the modeling and rendering part of the scene, starting with a basic square in MAYA to show the structure of the scene and the camera movement. Next week I will focus on modeling the coral and cliff part and find some pictures for reference.

WEEK 4 CG SHUFFLE IN NUKE

In order to understand “shuffle” better I refer to the tutorials on YouTube

“Shuffle” usually refers to a feature used to reorder channels. In Nuke, the Shuffle node allows you to control how pixel information is assigned to different channels. The channels include Red (R), Green (G), Blue (B), and Transparency (A)

the layer of id can show the different part in the car

When you are done rendering your model using maya, it will help you to export many different layers such as ID layer, Shadow layer, Metal layer and so on. Then import them into NUKE and use the shuffle node to separate them for tweaking, which is handy because you don’t need to re-render them, saving a lot of time.

Splitting into 2D and 3D views in nuke helps me visualize the color changes more clearly

When I adjust the “point” node in nuke, it’s like a light source, when I move it to a different position, the light of the object will be affected.

First, adjust the rgb channel in the “shuffle” and add a mask to show the local color.I’m not too sure about this part, but I’ll do it in the “garage” project and learn how to adjust the local color.

week 4 VFX workshop about 3D equalizer

  • Function: Various functions of the VFX department within the company.
  • Lay out: we can find a reference camera to edit the data in lens of 3D equalizer, such as BLACK MAGIC URAS 35MM.
  • Tracker: click T, this software can star tracking.
  • Adjust colour: control the data of saturation, such as red/ green/blue and so on. it can be changing the colour in the documents.
  • Track curves: open the view- show tracking curves
  • Open screen: alt +c
  • Image control: open the colour control.

This is my first encounter with 3D equalizer, compared to nuke I think it has a very different layout, it’s not very easy for me to find out where to export the files from the camera and how to open the other tool interfaces. However, I have memorized their locations after much practice.

WEEK 3 collaborate with our group

This week, the Collaborative Project session allowed us to discuss and share our ideas offline, as well as find partners to work with. I also met two students from 3d animation and one from animation online, they were both excellent and I look forward to working with them. Hopefully I will be able to learn more from them, I think my weakness is that I am very rusty with modeling software as this is my first time using it. So I would really like to improve my software skills to be able to present my work in a more complete way.

This week everyone was tasked with conceptualizing this UNESCO this project short story about protecting the oceans.

  1. It is a thousand years later, a lonely ship floating on a polluted and abandoned ocean, surrounded by a scene of apocalyptic wasteland.
  2. Its hull is crawling with strange seaweeds, some of which even glow, making it particularly mysterious. The metal surfaces of the ship have been eroded by seawater, but miraculously still stand in the polluted waters.
  3. Abandoned skyscrapers still stand hidden in the water, making for a strange underwater landscape. The ecology of the flora and fauna here has mutated and adapted to pollution and climate change. The ocean is floating with garbage generated by human activities, while there are some peculiar land creatures of the appearance (the color can be more bright, peculiar shape)
  4. However, the ship was suddenly caught in a whirlpool and it plunged to the bottom of the deep ocean. To their amazement, they found that in this abandoned world, there still existed a huge oceanarium, which had transparent walls of huge fish tanks inhabited by unique species mutated from sea creatures. Giant jellyfish, glowing butterfly fish, sharks with special sensory organs, and much more.

WEEK 3 AOVS AND LAYERCONTACTSHEET IN NUKE

LayerContactSheet allows you to layer the rendered image, tiling it to show multiple different passes.

The Objective of unbuild the beauty and rebuild it via the passes (channels) is to have an higher control of every pass and grade it according to the background image.

  • AOVs (Arbitrary Output Variable) : Used to adjust the Material Attributes
  • Render out the different layers in a modeling software, such as c4d, and then attach shuffle, which adjusts the color and gain values separately and more.

To replace a node, Ctrl+Shift and drag the desired node onto the old node for a quick replacement.

WEEK 2 Garage assignment IN NUKE

As I was completing this part of the assignment, I ran into some difficulties. For example, the cornerpin didn’t match the roto part so I had trouble tracking the texture to the wall I needed to cover, but I found that adding a transform node didn’t affect the overall movement, so that was a good way to get the assignment done.

Node diagram of the assignment

For the first time, I continued to use the “frame hold” with the “card” method, but I found that it didn’t work. So I went back to the first semester’s “roto” and overlayed each frame.

Week 1 3D tracker in nuke

This class still bridges the previous semester’s course, which had an in-depth study of nodes for 3d tracing. After Gonzalo introduces the camera tracker node, he emphasizes that if there are objects like glass or reflective objects in the scene, they should be roto to make the tracking more stable.

Since I can’t upload videos and pictures to my blog, I’m going to upload them to YouTube.