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Final Animation with a title card
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Final Animation
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Colour composites before and after and colour changes
The colour grading for this composition was very easy as the renders and the colours I had selected had meant that the grading was simple and didn't need to be altered to heavily. There was a suggestion which I believe helped dramatically with the colour which is the change of the tip form a bright white to a dark navy tone as it feels more connected init stone then a bleach white in a woodland shot.
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Attempting to add an image plane to footage 
Adding the signpost to the shot was difficult as I had to design the design using a template and using several pre-made decals to create a mud covered sign. The colour for the sign was easy to adjust yet I struggled with placing the sign as I initially tried using a id card were were taught by visiting lecturers yet I felt that the result was unrealistic and didn't fit with the overall look. Therefore I decided to try using a render shot which would also be adjusted in its colours due to the Arnold colouring on the lights. The last image is the rendered shot after colour grading to the scene and using a roto to make it buried into the ground.
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Animating the tracked shot
Animating the tracked shot was initially very difficult as I needed to work out how to animate the way I wanted to yet I soon realised that since most of the character as behind the tree I could use the main controller to move it as only the arms and the head had actual visibility within the shot.
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Tracking shot Set up from nuke to Maya
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Playblast of one of the animations that I can to use were the character is enjoying his time sitting near a stream and gets interrupted by a passing car as the location is near a water crossing.
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This is the preset I had done to each file except the tracking shot for the animation sequences as I wanted to prepare each shot for every stage of the process of making to keep track and not loose track of my scenes.
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Xgen Issues
Xgen is very difficult software to learn and as a result I ran into several issues when regarding grooming the fur as the splines I had used were not interactive and as a result could not be bent if animation was applied to the mesh. This was a big issue as the files had already been set up for animating and had been separated out with the fur groomed. The way I found a Solution was with the way Arnold renders a scene and using Stepped and clamped frames as by using them I was able to make Maya believe that the mesh was not animating the mesh as Arnold does not update each asset on each frame which Renderman does so the fur was able to keep it groom and animate correctly.
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Reshoot of footage
The reshoot of the footage resulted in better shots as I adjusted the camera better and took more care into the settings I used for the shots. Additionally I took shots from a different location to the initial ones as I felt they were better and had more character and would work much easier when compositing.
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Initial footage for this module
The initial footage for this module that I had shot was something that disappointed me as the overall quality was very bad and would be difficult to composite correctly. This was due to a lack of understanding of the camera as I had not set the depth correctly so the shots didn't look the way I wanted them to.
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Badger model rigging
Rigging this model was difficult as the shape made the rig difficult to position a the models initial geometry was offset for the arms and legs so the rig struggled especially when weight painting and meant that several more strenuous movements were impossible as the rig would cause extreme deforms to the mesh as a result.
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This is a turntable of the model with the fur attached to the body, this was to see how the fur looked in a series of images and to see how much noise was present in the fur. This footage does show a large amount of noise which is very helpful as it shows that I need to increase the sampling more so that it doesn't appear in the composited footage.
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