VFX ToolBox

WEEK 1 

The James Bond Inspired Title Sequence

My Favourite Opening theme is Marvel’s Opening Theme.

The Marvels title sequence was created using a wide range of professional VFX and post-production software in the making of their movies. Softwares include Maya, 3ds Max, ZBrush, Mudbox, Mari, Substance Painter, and Houdini for modelling, animation, sculpting, texture painting, and visual effects. Marvel also use other softwares like Cinema 4D, Blender, Photoshop, Nuke, and After Effects to create their films, showcasing the importance of utilizing multiple tools for different aspects of the production process.

Source: https://eightify.app/summary/technology-and-gaming/marvel-s-preferred-3d-software-revealed#:~:text=Marvel%20uses%20a%20wide%20range,the%20making%20of%20their%20movies.&text=Marvel%20uses%20a%20combination%20of,texture%20painting%2C%20and%20visual%20effects.

For the opening scene, I believe software like After Effects, Photoshop and the use of 3d animations were used to create it, compositing using multiple layers, colour grading and blending to make scenes belong.

The Marvel Theme used scenes and snippets from its already-created films showcasing its previous works beautifully as an introduction to its films. As a viewer that keeps my expectation at a certain level.

CLASSWORK

Playing around with the Adobe After Effects- 

Here I keyed positions for the circle, scaling them in different sizes and looping it. Then Duplicated them and aligned them horizontally.

I tried using variable positions to give a unique look pleasing to the eye.

Video Screen Grab 

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HOMEWORK 

 

 

 

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WEEK 2 

Alphas and layer transparency

CLASS WORK

Fire Skull Using Bond’s Face. 

HOMEWORK 

Task: Create another sequence that could be part of a 007 title, use stock video footage to create an effect of smoke or fire combined with an image of a celebrity to be a hero or villian. 

 

 

 

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WEEK 3 & 4 

Green screen and Keying (studio FS5 and FS7 camera demo/setup) 

This is our first-ever session in the greenscreen room. We had fun messing around and trying different scene-shoot ideas. 

I have included a few shoots below.

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WEEK 5

After Effects – Tracking

1 One-point Track: Label a pyramid in 

^BEFORE^

⬇️ PROCESSES ⬇️

2 Face tracking masks mosaic faces football boys 

^BEFORE^

⬇️ PROCESSES ⬇️

3   3d Text Environment 

^BEFORE^

⬇️ PROCESSES ⬇️

End Result

4 – How To Content Aware Fill (clean up)

^BEFORE^

⬇️ PROCESSES ⬇️

5 – How To – Perspective Corner Pin

^BEFORE^

⬇️ PROCESSES ⬇️

Another method to remove logo background

End Result

HOMEWORK

Before

Video by:
Videvo:Tracking Shot Through Empty Indian Alleyway

After

 

 

 

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WEEK 6 

After Effects 3D Space 

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WEEK 7

Render Passes, AOVs and EXR export 

• Rendering/Sampling in Maya
• Arnold AOV and Render Layer setup
• Rendering to EXR
• Compositing from EXR in After Effects

RENDER PASS / AOV’s in Maya
In Maya, AOV stands for “Arbitrary Output Variable.” AOVs are additional image channels you can render alongside the main beauty pass. These channels contain specific types of information, such as reflections, shadows, ambient occlusion, and other elements that contribute to the final image. AOVs provide flexibility in post-production, allowing you to adjust and fine-tune individual elements of the image without having to re-render the entire scene.

• Diffuse: Represents the colour of the surface without specular reflections.
• Specular: Captures the specular highlights on the surface. Shows the reflective components of the scene.
• Transmission: Captures the refracted light as it passes through transparent objects.
• Shadow: Represents the shadows cast by objects in the scene.
• Z Depth: Displays the distance from the camera for each pixel.
• Normals: Represents the surface normals, useful for certain post-processing effects.
• AO (Ambient Occlusion): Simulates the soft shadows that occur in areas where objects are close together.

It should be noted that the AOVs required, depend on the specific requirements of the compositor and how they will use these AOVs. It is therefore recommended to clarify which AOVs are required before creating such AOVs.

Another Example using Pool balls:

Ambient Occlusion custom AOV
Ambient Occlusion (AO) in Maya refers to a shading technique that simulates soft shadows in areas where surfaces are close together. It enhances depth and realism by darkening crevices and corners. Rendered as an Arbitrary Output Variable (AOV), it provides flexibility for post-production adjustments, improving overall scene aesthetics

Ambient Occlusion pass – aov

 

Ambient Occlusion was added as a higher layer in the comp using the multiply mode at 30% opacity. It increases the soft shadows.

CLASSWORK 

Render pass steps – AOV setup

1. Setup samples How to video: 
2. AOVs 
3. Combining the AOV 
4. Mattes

• Split the EXR file 
• Create the comp from different render layers
• Set the layer blending modes
• How to create Cryptomattes
• Using Cryptomattes to adjust the look of the scene

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ASSESSMENT MP4 VIDEO 

 

 

 

 

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WEEK 8

Introduction to Dynamic Animation in Maya 

Simulation Tasks in Maya 

 

 

Press play to see final work (shown below)

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WEEK 9

Introduction to Nucleus Simulation (nParticles and nCloth) 

For Simulating Cloths, we use a program in Maya called nCloth. It has its own tab dedicated to it in the menu bar when “FX” mode is selected at the top left of the screen.

Creating a Flag 

In practice below, we created a flag in-class workshop: 

Created a simple flag cloth using a plane polygon.

Selected “Create nCLoth” from the options under the “nCloth” tab.

Click Edit and Reset. Then click Apply or Create Cloth.

This creates a Solver called the “Nucleus”.

When applied correctly, the plane used as the flag cloth falls as shown above.

Using a cylinder Polygon,  shape the flag pole as needed to fit the flag cloth.

Switch to vertex mode on the flag cloth. Select some vertices on the edge of the plane to act as connection points. While having the vertices on the flag cloth you want to be selected, add the flag pole to the selection also.

Go to tab “nConstraints”, and choose “Point to Surface”. This will amend the two separate polygons together via the vertices selected in the flag cloth and the surface of the flag pole.

Under the Nucleus, you can enable an invisible ground plane where falling objects can collide or rest upon. You enable it by ticking “Use Plane” under the “ground Plane drop-down under the Nucleus tab in the Attributes Editor.

Under the “Gravity and Wind” dropdown, which happenes to be above “Ground Plane” drop down in the Attribute editor, you can fine wind speed, which helps give direction as to where the flag blows towards.

You vcan also change material type, to milk,airbag, and many more under presets for cloths.

Complications arise when trying to apply texture/uvs and the likes, after applying nCloth to a polygon

So redid another flag from scratch, but first attaching a picture as texturee for the flsag before applying nCloth and following through with the process.

Creating a Trampoline|Applying nParticles

Created a simple trampoline cloth using a plane polygon, and attached a texture picture from the start to prevent complications.

Created the trampoline frame using a Taurus polygon, and manipulated the polygon to get the desired shape wanted, to fit the trampoline cloth.

Like the flag earlier created in the workshop, switch to vertex mode, select the vertices at the edge of the trampoline cloth and also select the trampoline frame too. Then select Point to Surface under nContraints.

Under “nParticles” > create options,  select the type of particle you want to be emitted. I chose Balls in this case.

Under nParticles, select “Create Emitter”.

For further customisation, you open the “Create Emitter” tab and choose which “solver” to apply this FX to. As I have only the nuclues1, this will be my selection to apply the FX and then select “Apply” or “Create”.

Once the emitter is created, you place your emitter where you want in your scene.

I placed my emitter above the trampoline, and thus, balls fall down upon my created trampoline.

You can go further and even create “TEARS” in the cloth created for the trampoline like it was ripped to pieces.

To do this, select the cloth, and go to “EDGE MODE”.

Select EDGES within the cloth.

Go to nConstraints > Tearable Surface, and if you open the whole tab, you can click “Apply” or “Create Constraint” to apply the tearing effect.

Creating Squishy/Bouncing Ball 

Created Stairs from a Polygonal Cube, and extruded the shape of the Stairs shown below.

I also used a Polygonal sphere as a Ball, gave the ball an aiStandard surface, and gave it a “Checker” Colour.

I place the Ball above the Stairs so that it falls and collides with the stairs below it.

But the fall just passes through it. So I selected the stairs I created and went to nCloth > Create Passive Collider.

This enables the stairs to interact with the ball, causing the ball to now collide with the stairs, rather than pass through it.

To have the ball retain its circular firm shape, I select the ball, and under the nClothShape in the Attribute Editor, I select; Presets* > AirBag > Replace.

Another option that could work is; Presets* > BeachBall > Replace.

These presets interact/act differently in the scene, so some adjustments may be necessary to get it to behave as intended.

We can also fill objects with particles. So the particles are exposed upon breaking the selected object.

We do this by selecting the object, then going to nParticles>Fill Object

Make sure to select the correct Solver(nucleus) so that it interacts accurately in your scene.

Select “Apply” or “Particle Fill”.

We can now tear the surface of the cloth(ball) to reveal the particles hidden within it.

Just like in the previous workshop with the flag, we select the object and go to EDGE mode.

Select edges you want to tear along the surface of the ball.

Go to nConstraints>Tearable Surface and Apply.

You can also customise the settings of the Tearable cloth. You can increase the resistance so it takes more force to break apart and vice versa.

I tried experimenting with the Force Values below, hence creating an explosive type of tearing.

nCloth Setup on Character 

Using a Polygonal cylinder, I created the skirt the character below will be wearing.

After adjusting the size and height of the Cylinder to my liking. I place it over the Character from the waist down as a skirt should be.

I switch from the FX menu bar, back to the Modelling Menu bar.

Then go to Deform > Lattice and open the “Lattice Tab”.

As a rule of thumb, I go to Edit>Reset, to reset previous settings in the Lattice Tab, and adjust them if needed.

Hit Apply.

This creates a cuboid enclosing box around the cylinder, making the cylinder ready to be deformed to the shape I want.

The cuboid around the Cylinder is called Lattice.

to edit the Lattice Points, right-click and select “Lattice Point”.

This makes the shape Deformable.

Then Apply nCloth>Create nCloth like we did with the flag during our workshop.

Select the Skirt Cylinder and, go to Vertices mode.

Select the vertices at the top of the skirt and also select the surface of the skin of the character.

Then Select nConstraints>Point to Surface.

This mends the skirt to the character at the waist.

To ensure that the skirt doesn’t pass through the character whilst in motion as shown above.

Make sure to Tick the Collide Checkbox under Collisions in the nRigidShape tab in the attribute Editor.

You can also adjust the Thickness of the collision layer so it interacts as required.

You can further customise the skirt by changing the constraint method when mending them together.  You can use WELD, SPRING or RUBBERBAND under the dynamicConstraintShape for the Skirt.

It changes how the skirt is mended to the character.

And just like the flag we did earlier, you can change the type of material the skirt behaves like. There are multiple options, but I went with Silk for this skirt.

I finally gave the Skirt a new aiStandardSurface Material and changed its colour to blue.

Gave it a tear in the front using a Tearable Surface.

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WEEK 10 

Green screen shoot number 2 in BY.01.009 

Today we we had our second green screen shoot session for our ideas for assessment 2. We shot lots of videos, and I have included a few below. 

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WEEK 11 

Introduction to Maya Fluids smoke and fire simulation 

 

 

 

 

 

 

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WEEK 12 

ASSESSMENT 2 

For my assessment, I used the green-screen video shoots we took in our last green-screen workshop class, and also created some effects in Maya which I Rendered and used in the creation of my project.

Green-Screen Videos Used are Shown below.

Renders created in Maya are shown below.

 

 

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I modelled my poker chips in Maya from a polygon cylinder, by resizing, increasing subdivisions, and extruding surfaces. 

I got a soundtrack and edited the project to match and follow the sound effects for a better impact on my viewing audience.

 

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