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Transcript

  • 1. Graduate Professional Project Chance Harris April 10, 2007 Panel: Dr. Michael Korpi, Brian Elliott, Robert Darden
  • 2. Project Overview
    • Construct a 3D model of locations/scenarios from Justin Wilson’s script
    • Shoot green screen test footage
    • Test lighting scenarios
      • Matching virtual lights with on-set lights
      • Green screen lighting for visual effects
    • Composite footage into virtual sets
  • 3. Software/Equipment Used
    • Software
      • Blender 3D
      • Shake
      • Sketchup Pro
      • Final Cut Pro
    • Equipment
      • Sony HDW F900 camcorder
      • Mac Pro
  • 4. Conceptualize
    • Hand drawn map courtesy of Justin
  • 5. Conceptualize cont’d
    • Pictures…
  • 6. Initial 3D modeling/lighting tests
    • Best strategy for large scale modeling project
    • Software workflow (Blender, Sketchup, Shake)
    • Collaboration with Justin for overall lighting (“bluish nighttime”)
  • 7. Acquisition/Creation of Elements
    • Textures
  • 8. Acquisition/Creation of Elements
    • Use basic polygons in Blender 3D and Sketchup to create objects
    • Apply textures to finished models
  • 9. Organize Objects
    • Rough layout of streets, concrete, grass, crops, etc.
    • Add buildings according to the grid of streets
    • Gradual transition from downtown to rural
    • Pepper with details
      • Street lights, dumpsters, fences, railroad, crates, tractor, etc.
  • 10. Lighting
    • Very versatile…allows for lights to be placed, moved, articulated, dimmed, and colored very specifically.--- DEMO
    • Position lights
      • Street lamps, accents, “global sun”
    • Adjust specularity , reflectance, and translucence of objects
      • Ex: window is very similar to white wall, except the window will have much higher translucence and specularity
      • Concrete tweaked to have low reflectance/specularity
  • 11. Cameras
    • Equally versatile as lights
    • Ability to place, rotate, move, and manipulate properties (focus, lens type, aspect ratio, frame rate)
    • Add as many as I want
    • Animated or stationary
    • Helpful for composition before long renders
    • DEMO
  • 12. Studio Work
    • Test shots of Justin in front of the green screen
    • Natural lighting vs. even lighting
    • Determine best simulation for passing lights while driving
      • Obstruct light, spin light, constant light…fix in post
    • Swivel chair for camera moves
  • 13. Shake Compositing
    • Integrate footage with 3D renders
    • Extensive use of masks to make Justin appear “inside the car”
    • Color correcting (animations looked much “cleaner” that footage)
      • Dirty up the animation
      • Advantages of stylized looks in Sin City and 300
    • Artificial lighting
    • Motion tracking and keyframing for simulated camera moves
  • 14. Complications
    • RENDERING TIME!
      • 30 second animation took almost 3 days
      • Textures and lighting = long renders
      • Importance of renderfarm
      • Pixar average of 6 hours/frame
    • Motion Tracking
      • Shake can only track in 2D, which makes a simulated camera rotation around the car very difficult to match.
      • 3D tracking programs (PFTrack, Boujou) are very expensive
  • 15. Complications
    • Lighting
      • Balance between set lights and virtual sources is very delicate
      • Easier to have virtual sets lighted and rendered before shooting
    • No green floor
      • Had to shoot around this
      • No ability to include actor’s feet in shots