Month: February 2023

CG Machine in Nuke

New Compostion (Work in Progress)

This was my second attempt at the project, and I wanted to develop the same concept into the scene, with a small bridge leading over a gap in the floor. This time however, I created the models and applied the textures in Maya and Substance Painter, and rendered out the sequence in Arnold. I also recreated the rotoscope in Nuke and correctly removed the light in the left side of the plate using RotoPaint and Roto nodes. Starting from this point was also proving much more beneficial, as I was aware of the mistakes I had made previously, and I did not want to repeat them.

First Attempt at Composition

First Attempt

For this project, we were tasked with implementing objects into a short sequence realistically, that is to correctly follow the camera movement and perspective according to the track. FIrstly, I began creating a 3D scene to attempt a recreation of the garage. As we had covered 3D lighting in Nuke a short while ago, I found this area very interesting and quite powerful. To implement this scene, I created several planes and extruded them in Nukes 3D viewer, and created 3 different lights. Two lights in the first area of the garage, and one glowing red light into the machine room. These were all set to vary in intensity to capture the lights into the 3D scene.

I also added the mouse created in my collaborative project, and animated it to a basic degree so that it winds and turns to look at the camera as it approaches. I wanted to also have the mouse jump over the bricks into the machine room, however this did not quite turn out as I had hoped. Instead of jumping over a 3D wall asset, I instead faked the disappearance of the mouse with a Multiply node keyed to make the mouse disappear as it jumps upward towards the broken wall.

Shortly after creating a basic shape of the 3D walls however, I started to have serious issues with the way the geometry followed the perspective of the plate, and creating geometry to follow the shape of the broken wall was turning out to be extremely difficult as the sequence played on. as well as Nukes modelling toolset to be a bit less usable when compared to specific 3D software. All of this was generally an attempt to capture 3D lighting, but this was not proving accurate as the track played through. The largest issue however, was the strange results I was getting when the camera moved closer to the broken wall, as the lighting would bounce off seemingly thin air due to the perspective change.

Another major hurdle I encountered was texturing, as moving from 3D modelling and texturing software I made the mistake of thinking the same process could be done in Nuke. As I was having some success exporting geometry from Maya to Nuke in Alembic format, I experimented at first with exporting the geometry with correct UV tiles, and tried to texture using the ‘stmap’ node and exported texture maps. This was largely unsuccessful, as the textures stayed in the same position whilst the camera moved, creating a dizzying effect and not at all what I had envisioned. In an attempt to fix this issue, I tried to transform the textures according to the camera movement, but this again was proving not to be a solution. The final alternative was to use flat colour swatches without any texture to alleviate the dizzying effect. This is not how I wanted the final models to look however, hence why I began again with fully textured sequences.

I enquired with several of my classmates as to the issues I was experiencing, who tried to help me as much as they could, but through my process I soon realized that I had approached this project from almost completely the wrong angle. As my specialty has ultimately been working in 3D, understanding composition when working with 2D plates is another aspect which I have to consider more carefully, and furthermore realize that the rules which apply to 3D software do not necessarily translate into developing compositions. The reality was becoming clear, to begin the project again, recreate the rotoscope and eliminate the 3D scene. Also, to replace the objects and textures with sequences taken from Maya with already textured and lit assets. As well as this, I wanted to develop a much more cohesive script, which does not create a large amount of issues as created by my first attempt.

Despite all of these problems I encountered during my first attempt, I still feel that I learned a great deal about working with Nuke, and surely what not to do when developing a balanced and understandable scene.

Advanced & Experimental Maya

Satisfying Animations

I added the sequence into Nuke to add a dropShadow node onto a green plate, and also added a vignette.

For this project, our task was to create a satisfying animated sequence using Maya’s toolset. Using the MASH editor and keyframed animation, I wanted to create a series of rotating and counter-rotating objects to develop an interesting effect, as well as using a Lattice Deformer to create ‘waves’ as the pendulum ball swings into the outer blocks. As the spheres make contact with the outer blocks, the chosen sphere with ramp up a blue or red glow, which dissipates as the pendulum swings. I also created two helix curve tracks which are followed by two pulsating spheres around the pendulum, using Motion Paths.

I wanted this animation to give a sense of flow and gradual lighting. With the same colour palette as one might find on a roulette table, I chased this aesthetic a little more and decided to create a surrounding of golden bars, with a royal rich green engraved with small patterns. The only major colour shift throughout this animation is the glowing blue sphere on the end of the pendulum. I felt that the counter-rotation of each plate also seemed more dynamic as opposed to all plates rotating in the same direction, perhaps indicating a hidden mechanism driving the machine.

This version is the toned down one, as the experiments using MASH were beginning to create a convoluted scene. Originally, I wanted to create a human mesh out of tiny spheres, which would fall apart and regroup when an object passed through them. The simulation time however was making this unrealistic, and I quickly changed course.

Personal VFX Careers

VFX Career Roles

Entry Level

Texture Artist: As an entry-level career into the VFX industry, texture artists working in CG are responsible for creating textures and shaders which bring an otherwise grey model to a photorealistic render. Also, texture artists are responsible for creating high-resolution details onto a mesh with the use of baked maps and ‘painted’ details. Necessary requirements for texture artists are a good eye for colour, lighting, and artistic practices, as well as proficiency using the various software needed to create high-quality renders. Also required are the abilities to work as part of a pipeline for other artists in a studio.

Texture artists can work in several different capacities, working as a freelancer, or in a VFX company. The amount of workload in a studio environment can vary depending on the size of the team. As a texture artist, it’s also beneficial to have modelling and lighting skills when developing assets for a studio, as some smaller studios may combine the roles of modelling and texturing into one, effectively doubling the required skillset.

After gaining a general understanding of working with 3D and the workflows involved in each specialization, I found myself most drawn towards a specialist role in texturing and lighting. My reasoning being that I find most scenes can be infinitely changed by even the most subtle of differences in tones and shading, and by developing a specialists eye for colour grading and correction, this area of visual effects intrigues me the most. Another aspect for my desired specialism is due to my knowledge of using 3D software such as Maya, Zbrush, and the Substance suite, which almost naturally drew me towards this specialist pathway.

Environment Artist: Another entry-level career in the VFX industry, environment artists are tasked with creating high-quality landscapes and complex terrain. Generally, environment artists work closely with 3D modellers, texture artists, and concept artists to create what the client desires. An environment artist may create many different types of environments, from war-torn cities to sprawling lunar landscapes, and everything in between. Key attributes to developing believable environments are a knowledge of architectural design, an eye for space and lighting, a keen sense for layout and structural design, and an artistic point of view.

Similarly to other entry-level VFX careers, an environment artist can work as an aspiring freelancer, or a role in a VFX studio’s pipeline. In a studio environment however, the artist must keep in mind their role, as the 3D modelling and texture artists must be able to perform their jobs without running into issues with the landscape, and the artist should be able to resolve such issues in the pipeline. As is the case with texture artists in small studios, an environment artist may also be tasked with texturing and 3D asset development as a whole, so an expanded skillset can be extremely beneficial.

My reasons for researching a specialist role in environmental design are due to my previous works with creating post-apocalyptic and horror scenes, an interest in hard surface modelling and panel design, and a strong interest in creating photorealistic assets and believable environmental spaces. To this effect I have a fairly strong understanding of the environment creation tools in Unreal Engine, as well as creating landscape materials and tilable textures in several 3D software kits, as well as a general kowledge for kitbashing assets.

Senior Level

VFX Artist for Games: As a VFX artist working in the game industry, this role require extensive knowledge of project composition, lighting and colour-grading, particle simulations, real-world effects of weather and atmosphere, and a strong eye for bringing these elements together in a strong and cohesive display. VFX artists are often said to be responsible for bridging the gap between the technical aspects and visual elements of any composition. In game development, a further requirement for successful production are a sense of polycounts, texture lookups, and other potential hurdles and limitations when coming to sucessful deployment of a finished product. This ensures that the computing requirements for any delivered product can be matched by consumer hardware, making the final piece readily available to the gaming market.

As are the entry level roles, the ability to work within a team in a pipeline of development is crucial, as well as fulfilling what the client may require towards a deadline. Other requirements are the abilities to keep to schedule and working to a established budget, minimizing costs. Also necessary for this role is the ability to keep up-to-date with the latest software packages and learning how to employ new advances in industry pipelines.

VFX artists in the field of game development tend to work within a studio, especially in senior-level CG roles where a knowledge for each area of design is key in bringing the composition together. This may require working with several different branches of a production studio, as VFX artists typically work closely with concept artists, 3D modellers and texture artists, environment artists, and level creators.

With a strong sense of each role and they’re contributions to any given project, VFX artists should be able to communicate clearly in a team, and have an understanding of the limitations of each role, and the capability of each software package being used in a pipeline. Freelancing as an entry-level VFX artist may be more typical, but in a senior level compositing role the opportunity to develop ones career in an established VFX studio may prove more beneficial than freelance work, and can net a strong list of industry contacts.

My reasons for aspiring to this role are due to a long history of gaming, a habit of researching game content and behind the scenes development diaries, and keeping as up-to-date as possible on the latest developments of game creation tools such as Leadwerks, Unreal Engine, and 3D creation software. Having been engrossed in the technology of games’ such as Doom, Quake, and Unreal Tournament in early 90’s and 2000’s PC gaming, as well as modding for later 3D engines running games such as CounterStrike: Source, working with games has always been my primary focus when entering this field. The tools for successful development have only become more accessible since computing capability has exponentially grown since early game production, and the requirements of knowledge have also increased alongside these developments. Understancing the creative and technical process behind several art styles and elements of gameplay design are workflows which I aim to be successful at, as well as working cohesively within a studio of capable artists.

Advanced & Experimental Nuke

Using Green Screens and Tools in Nuke

Post author By Daniel Loutfi
Post date 19th February 2023
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Original Version

Treated Version

For this task we were asked to remove the green screen from the actor plate, as well as any film noise or green despill. We were shown several ways to accomplish this in Nuke, including KeyMix, Primatte, Ultimatte, and by using gizmo nodes.

Collaborative Group

Collaborative Project: Unreal Engine and Live Action Music Video

Post author By Daniel Loutfi
Post date 11th February 2023
No Comments on Collaborative Project: Unreal Engine and Live Action Music Video

For our Collaborative Project with the various courses such as Games Design and 2D Animation, we formed a small group of three people. 1 from Games Design, and two from Visual Effects. Our goal for this project was to combine live action footage alongside 3D assets and environments to create a blend between the environments, My role for this project was to 3D model and texture several assets, and to assist in various tasks related to visual effects. My tasks so far were to model and texture and tube train, model and texture a bus, and to model and texture a pipe sequence with a short encounter with a mouse.

For the first part of my role, my task was to develop several 3D assets which relate to the London Underground, and Transport for London. Assets of particular note were: the London Bus, the interior of a Tube carriage, and a short camera track travelling through underground pipes, with an animated mouse model.

We obtained the necessary footage of various spots around London, and studio footage captured in front of a green screen. Originally we wanted to film inside of an Underground station, but the staff did not allow us to do so. The plan slightly changed to substitute the station with several shots from LCC and the surrounding areas. As Robin had obtained a free environment for the entirety of London, this was a good scene to insert 3D assets into. The idea was for the camera to move around the environment, and enter a drain hole to where the pipe sequence began. Also, the original plan was to have the bus cross a bridge as the camera panned over it, but this was changed to have the artist perform on top of the bus composited with green footage footage in Unreal Engine 5.

London Bus Asset

For this model, the plan was for the bus to be seen in a short panning shot over London bridge as the camera shifts through the environment. Due to the angle and distance to the model, I kept the asset fairly low-poly with large and distinct textures. The idea to have a 1980’s version of a London bus, the RouteMaster, was to spark more interest and create something that had a classic ‘London’ aesthetic.

As stated earlier, the needs for this model shifted multiple times, from a quick pan over London, to a shot over a bridge, and then to a close-up shot with the artist composited over top. To this regard, it was difficult to know exactly which shot to model and texture the asset for.

Drain Cover Asset

For this asset, Robin requested a drain cover so I gathered several references to London city manhole covers, and I attempted to find a design which fit our intentions, this being several large gaps for the camera to fly through as the camera entered the drain-pipe sequence. As the camera would be very close-up to the asset, I modelled this to be as realistic as possible, whilst also maintaining as low a polycount as I could for the sake of computing requirements. These are aspects which I always try to observer when developing any asset, and obtaining a sucessful bake for this asset was at first slightly difficult, but after fixing areas of the high density mesh, these problems were alleviated.

When texturing this asset, I wanted to maintain the worn and scuffed feeling that was persistent in the track, and also because no drain cover lacks areas of grime and rust. Whilst I spent a fair amount of time to get this asset to look realistic, I was also aware that it would only appear for a split-second as the camera moves at a very quick pace through the pipes.

I checked the model and textures in Unreal Engine 5, and after making sure all the packed maps worked correctly, I exported the model and textures to our level designer.

Modelled & Rigged Mouse

For this sculpt, I gathered several references to a typical mouse that might be found on the London Underground. I completed the high-resolution sculpt, and retopologized the model using 3DCoats remeshing tools, as well as creating teh UV’s in the process. After this, I moved to rig and animate the model in Maya by attaching joints and painting the weights. As this was a fairly simple model, and the scene was very quick, pinpoint accuracy was not essential but the animation worked as intended. Due to the reason outlined below however, the model did not get to the texturing stage.

After a detailed discussion with the song’s artist, the idea to have a mouse in the final film was rejected. The was not really that bothersome, as it reminded me that clients may not necessarily want certain elements in their videos. However, the process gave me more opportunities to test my rigging and animation capabilities even if the mouse sequence was not featured in the final film.

AI Generated Images

For this area of the project, we wanted to create alternative AI art generated sequences. We each had several frames to develop a strong visual effect which would shift frequently. To achieve each look, and maintain a consistency across each short sequence, we gathered fractal and abstract imagery and blended the art styles into our footage.

Advanced & Experimental Nuke

CG and Compositing

For this weeks Nuke project, we were tasked with compositing a rendered car plate onto our choice of three environments. We also had to colour match several different channels to incorporate the car further, trying to match the tone and colour scheme set by the surroundings.

This task was interesting as lighting and colour grading are some of the processes which I most enjoy working with in composition, so the tools in Nuke were quite impactful when editing a scene with ability to match white and black points, grading each individual channel, and balancing shadows, as well as much more.

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