1. 3.
PRODUCTION LOG

2. 3. PRODUCTION LOG
In this section track your production, the decisions made and
the process of your work
Each slide has a heading and specific area to cover

3. 3. PRODUCTION LOG
METHODS OF PRODUCTION
What methods of production have you used – e.g. motion tracking, green
screen, compositing, etc
Remember, you must include motion tracking, parallax/motion graphics,
composited shots in your sequence

4. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I started by loading the software I would use to create my CGI sets in. I then set a new folder to keep my files and productions in.

5. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then started creating the set. I created a box to mark the walls of the room.

6. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Then I scaled the box down slightly to feel slightly more realistic in size.

7. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I added length and width segments to the box.

8. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I selected points to delete, as my ceiling and floor would have to be different to my walls.

9. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
With the top and bottom faces removed, I could start on my floor.

10. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
In the material editor, I selected a wall texture I had found and edited and applied it.

11. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
With material editor, the walls were now textured.

12. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then scaled the walls back up to make it look more realistic.

13. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I created a plane for the floor.

14. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
The floor had to be slightly larger than the walls and precise positioning to prevent any holes in the

15. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then used the material editor to apply the concrete floor.

16. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then had to remove the shading on the floor in Photoshop to undo the undulating effect, which was undesired.

17. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
For the filming, I raised the frames to six seconds to allow the length of each scene to be shortened upon post-
production.

18. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I added a camera to allow the scenery to move with the live-action footage that would be masked into the
footage.

19. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I activated the “Auto Key” to allow the camera and focus to move freely.

20. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
By moving the camera, it creates a more interesting viewing experience than a stationary one.

21. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
For the lights, I started by creating the lateral beams, which was formed from a box.

22. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
The holders for the fluorescent tubes started off as flat planes.

23. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
These planes then had their length segments increased before applying a bend.

24. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I selected 360 degrees to make the plane circular.

25. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
After rotating the holders, I then elongated the bottom ends to give the tubes some support.

26. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
With the bottom ends elongated, the tubes can be realistically placed.

27. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I copied the holder, rotated the copy and placed it on the other end of the beam.

28. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then grouped the beam and holders together to make them more convenient in the long term.

29. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then recoloured the beam and holders with a more realistic shape of white

30. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I started creating the ends of the fluorescent tubes.

31. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
These were coloured a significant more dynamic white than the beams.

32. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then added supports to the holders to give a more realistic edge to the lights. These started as

33. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Then, by adding a length segment, I edited the appearance to create a more dynamic shape.

34. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then added the fluorescent tube. These were left unchanged to allow for the fluorescent light effect and illumination.

35. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I copied the lights, which saved me significant time creating 26 individual fluorescent

36. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I formed an inverted logo design to allow it to be flipped upside down to work on the ceiling.

37. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I flipped the lights 180 degrees.

38. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I then arranged the lights to fit on the ceiling tiles.

39. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I added digital lights to allow the interior scenery to appear on camera.

40. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I settled on a Xenon bulb, which illuminated in a dim light, creating the starting atmosphere
perfectly.

41. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
For the stand of the “A” stand, I started with a cylinder and edited the appearance for a more dome-
like appearance.

42. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
In order for the appearance of the lights to be exact, I had to mirror the selected components.

43. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I also made all the fluorescent tubes unique so that the ones that formed the “A” could be elongated.

44. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
Next, I applied the fluorescent light effect I made in Photoshop and MotionArtist to the fluorescent
tubes.

45. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
These creates a realistic lighting effect on the tube, and the added luminance creates
atmosphere.

46. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
I also added a remote light with line effect to match the light of a real fluorescent light.

47. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
In render, the light clearly shows, but the orange effect is undesirable.

48. 3. PRODUCTION LOG
METHODS OF PRODUCTION
CGI environment
So, I changed the light to “daylight” to give a more aesthetically pleasing edge.

49. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
For masking, I took a mask pen around the subject I wanted to only see.

50. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
Everything outside the mask is removed, creating an appearance similar to that of green screen,
though considerably more complicated.

51. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
Most masked sections required two levels of masking, as only one layer mask can be used for a neat
effect.

52. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
The masking was used to create the illusion of a live subject in a CGI environment. Masking the A-
lamp in front of the live subject makes the effect more convincing.

53. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
For a more realistic effect, this mask was tightened to remove black edges.

54. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Masking
The live subject is also masked to placed into the scene. All the bright edges are removed to make
the subject really appear to walk through the CG environment.

55. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
To start tracking, I selected the “track camera” to give me set points to work with.

56. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
Then I ctrl-clicked and created a solid and camera

57. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
The solid was arranged based on visual measurements that were automatically verified.

58. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
I next removed the coloured background and placed the motion graphic in its place.

59. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
I rearranged the timing of the motion graphic to match the timing I intended for the final

60. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
Next, I prepared to key the background out.

61. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
In order to do this, I had to change the colour of the background to green, which works best for
keying.

62. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
Now, my motion graphic was in position.

63. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Tracking
I edited the rotation on all axes to have the graphic facing forward. I also animated motion to create a
3D effect with the text against the background.

64. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Editing in Premiere
In Premiere, I placed the finished footage into the timeline and trimmed it to the appropriate
length.

65. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
For sound, I used my account on freesound.org to find appropriate sound effects.

66. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
Once they were found, I downloaded them.

67. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
I moved the downloaded files to a portable flash drive to be more easily discovered.

68. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
These sounds were then imported and dragged and dropped onto the timeline.

69. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
There were numerous instances that needed sound effects, so several layers of sound were needed
to accompany them.

70. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Sound Effects
I also used GarageBand to create a sound effect of my own to go with the text

71. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Creating the music
To create a backing music, I used GarageBand. With this, I could input my own score with a remote
keyboard.

72. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Creating the music
I could also edit notes if something went wrong. This makes creating the music more precise than
recording live.

73. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Creating the music
To give depth to the music, there were several layers of instrumental added, including some
percussion.

74. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Creating the music
I also adjusted the volume wherever necessary to create more of an effect.

75. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
For texturing, I saved an image from the internet and edited for use at materials.

76. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
These would be opened in Photoshop, which allows for easy editing for use as surface

77. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
I widened the canvas to allow the image to be spread out for the large surface which it will be placed

78. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
Next, I used a clone stamp to spread the texture even and with minimum quality degradation.

79. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
For some textures, it requires cloning in horizontal and then vertical directions to cover a wide

80. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
I also used a healing patch tool to patch up some gaps in the texture.

81. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
With the horizontal cloning completed and healed, it was ready for vertical cloning.

82. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
This, however, created an undulating effect, which had to be removed.

83. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
So I applied a large healing patch tool with a content aware feature to give a smoother

84. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
Now, the texture is smoother and more appropriate for a large texture.

85. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
I also considered sharpening the texture, but this proved unfavourable in appearance.

86. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
For the ceiling, I did the same method to cover a large space.

87. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
But for the supporters to be visible, I had to sharpen the edges.

88. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
From a long shot, it creates a clearer appearance.

89. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
For the lights, I started by painting the fluorescent light effects in Photoshop.

90. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
Because my home version of Photoshop has no timeline option, I had to later apply the
images into MotionArtist to allow for a lighting effect.

91. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
For the text effect, I wrote the name of the channel in the pre-arrange font and rasterized it to allow it to be edited.

92. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
I used the select tool to separate different parts of the rasterized copies.

93. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
The selected portions were scaled to a different size to allow for motion.

94. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
When overlapped, the outlines become one.

95. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
Because I was creating a motion video, I had to export as opposed to merely save the project.

96. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Photoshopping CGI assets
In this case, it was saved into an mp4 format. I would later add a green background in the
video, which would be later removed when applied to After Effects.

97. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Developing motion effects
Next, in MotionArtist, I started creating the video footage for the fluorescent lights.

98. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Developing motion effects
The transparency in the first effect made it ideal for applying to realistic effects.

99. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Developing motion effects
I altered the transparency and arranged the keyframes to react on cue.

100. 3. PRODUCTION LOG
METHODS OF PRODUCTION
Developing motion effects
After a slight issue with appearance, I rotated the light effects to match the lateral position of the fluorescent tube.

101. 3. PRODUCTION LOG
SOFTWARE & FILE MANAGEMENT
Which software have you used and how have you managed your files
List specific types of files formats chosen [mov, aac, etc] and why – consider working docs
and export docs
For the CGI sets, I used Autodesk 3DS Max. Because I was using animation software, I needed to
dedicate as much time as possible to creating the sets. Because I needed seven shots I needed
seven copies of the same scene with different lighting arrangements. The videos were saved in an
.avi file and compiled in Motion Artist to change to a .wav format that a Mac computer could handle.
To create the textures I used Adobe Photoshop Elements 15 and Photoshop CS6. Unlike Paint, it
allows for a smooth, seamless appearance when edited, which is important for texturing in 3DS Max.
It also allows for improvements wherever necessary. I imported the textures from Ecosia images and
used a cloning stamp to spread the textures to a wider area, which allows for a crisper image on the
large surfaces in 3DS Max. The videos were then rendered in an .avi format which allowed them to
be more easily handled in After Effects if need be.
Live-action sections were filmed on camera in a room. These were later applied to Adobe After
Effects CS6 by masking the edges of the subjects that I wanted visible. In some cases, multiple
layers of the same film were used, as masking does not allow for more than one subject at a time.
Also, because the live-action segments would be masked onto CGI environments, camera direction
had to be carefully managed to ensure a neat, uniform appearance. The finished files were then
rendered in an .mov format.
For the music, I used GarageBand. I inputted notes from a remote keyboard and adjusted notes that
were mismatched with others, making it easier to control the quality of the music produced. This was
rendered in an .m4a format.

102. 3. PRODUCTION LOG
QUALITY CONTROL
How have you gone about maintaining a high quality product
through your process and production?
The CGI environments were rendered on the HDTV setting, which
created a crisp, high quality image which is ideal for television
broadcasting. It also helped that I am a perfectionist, meaning I do
not consider showing anyone my work until it is of an acceptable
quality. Also, due to the fact that I was applying live-action footage
to CGI environments, the movements of both elements had to
match the other closely to work effectively.

103. 3. PRODUCTION LOG
TIME MANAGEMENT
Explain your process and how you have managed your time
effectively
As a result of my heavy reliance on CGI software, I had to
dedicate as much time as feasible to develop it properly. This had
to be arranged carefully with my other activities during the three
week production timeframe. Much of this time was spent creating
the set on software that I had at home but did not have at college,
then apply it to Adobe After Effects, a software that I did not have
available at home, but did have at college, perfectly balancing out
the lack of activity from lack of software of both sides of the
production.

104. 3. PRODUCTION LOG
FITNESS FOR PURPOSE
How does your ident package match up to professional
productions? Compare/contrast against similar channels.
How does your work compare? What works/doesn’t
work/how could you improve it?

105. 3. PRODUCTION LOG
LEGAL & ETHICAL
What legal and ethical considerations have you had to
consider in your ident package? How have you worked with
these to maintain your product
Because my sets were created in CGI and my live-action footage
was masked into with the background removed, I did not have to
film any real environment, so I did not have to sign any leases to
use public spaces. If I did, then I would have to sign a release
form and pay a significant amount of money to use the venue. For
example, if I were to film in an abandoned shop, I would need
permission from the local council and it would depend on whether
the venue was safe to use.

106. FINAL PRODUCTS
Upload to YouTube and embed in your blog
Incude a link here with screen shots
https://youtu.be/gunhM63G6zk