On this sheet are the top 30 of my tests of different textures for our creature. It’s been lots of fun making them, trying not to lock myself on just one theme/style. I put around 20-30 minutes on each version with a total work time of little more than a day.
Now I’m trying to choose one of them. These two are my favorites but I don’t know which one to pick (or how to combine them).
The texturing starts on Monday and I’m very exited to get started.
I’ve been working on adding sound to our sequence. Since we didn’t get any sound-recording from our filmed footage I had to create all sounds from scratch. Here is a sneak peek of what we’ve got so far. It is still work in progress
This is how far I’ve come on the lighting. I’ve just wrapped the matching of the whiteball. My lighting setup consists of a simplified geometry of our real scenography with HDR textures mapped on it. The final gather will use this instead of a standard IBL-ball. I got the HDR textures onto my geometry by projecting our HDR panorama onto the geo. To boost my lights I use portal lights, which are designed for just that purpose.
By using real geometry instead of a IBL-ball gives me difference in cast shadows and occlusion at different places in the scene, and the scene geometry will receives shadows and reflections. It also increases/decreases exposure of different lights and reflections dependent on a more accurate distance. It takes a little longer to set up but I think it will pay off.
The tracking went unusually well. I threw out about 40 trackers in matchmover and got a great solve without any effort. After that, I had to matchmove the bench. We will use the 3D-bench geometry to receive shadows and reflections. The other creature-shot cameras are either static or fully animated, so they won’t need any tracking.
We got an artifact from the RED camera with a black or discolored line down the middle of almost all our shots. I struggled quite a bit, trying out different methods to remove the lines. I tried a few edgebleed tricks (none giving me pleasing results), I tried nukes furnace rig removal (it had problems with highlights), I tried cloning (too time consuming), I tried moving the right side of the image 4 pixels, to cover the lines (it created a noticeable edge between left and right side. The thing that finally gave me a result I was happy with (and was extremely easy to set up) was after effects “simple wire removal”. I’m quite surprised that a function named “simple” beat the optical-flow based furnace rig removal.
I also suppressed the colors on a blue patch on our actors back that we thought was irritating. Here is the before and after:
On Wednesday we had a look development meeting where we reviewed the creature design. We asked students both from our class and the second year to give us some critique on the creature sculpt.
Eventually we got a list of changes that we tried out, some didn’t work but most of them made the design better.
We are having these meetings every Monday so we can get some fresh perspectives and ideas of our work.
On Tuesday this week we filmed our footage. We got a hired cameraman, Mattias Sjöstedt with a rented RED camera which gave us some great footage with great quality. Also thanks to our actors, Mikael Eriksson (the man in behind the mask) and Jonas Malm (a dead professor).
We won’t show you any of our footage yet, but at Milestone 2 (11/2) we will post the whole sequence with a proxy-animated creature for the creature-shots.
Today we finished up the set. Kim managed to build a awesome cage that will add to the look and story of the sequence. We’ve also fixed all the clothing for our actors and we feel ready to shoot the footage tomorrow.