In comp, I did tinting of textures and lighting, added post effects such as motionblur, zblur and noise. I tried to nail as mush as possible in the render so not much were done in post.

Here are the passes we rendered:Captsssure

Here is a frame from one of the shots (click for enlargement):frame



Texturing process is reaching its end. I’ve created the textures above.

I also merged some painted details (such as scars, veins and major wrinkles) into the 32-bit displacement that Robin generated. I merged these in Nuke to keep the bit depth.

The skin subdermal layer is less saturated than I used to paint them due to the new sss shader, the weavelength dependent scatters takes care of the red boost. See my shading post here.

In the fine displacement I painted high frequency wrinkle detail to break up the specular highlights. It also contains scars, blood spatter, and various skin defects. But you will probably not notice much of the details in the diffuse.

Instead of painting reflection intensities in a reflection map, I painted the gloss instead, which blurs the reflections. This made more sense because skin is one material and therefore one reflection value, it was more a matter of skin wetness or dryness which is controlled by the amount of reflection blur. I did do a reflection map though; to tint the blood slightly red. Otherwise the blood looked to much like plastic.

Fine displacement:torosdddddbin

Gloss and fine displacment:spec


UV mapping

The UVs are laid out. I will use a multi tile workflow and I will abuse the features in Mari and Nuke that are designed to aid this workflow. There is a total of 13 tiles.The symmetrical parts are laid out on top of each other but not on the same tile, which enables me to copy textures between them to keep symmetry and then break the symmetry any time I want.uvs

Texture look development

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.lookdev_sheet

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). lookdev_final

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


whiteball_croppedThis 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.

Here is my scene with the textures mapped:

Tracking and match-moving

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.

Plate cleanup

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:


Milestone 2

Today we presented Milestone 2 “Proof of Concept”.

We showed our edit with a proxy creature, and the result of the past two weeks work. Everything is going as planned and we won’t need to do any rework of our planning.

Here is our wip-edit. The images are unedited, so there is no grading and there are some artifacts that we will have to fix.