VEPP Asset Creation and VFX Project Design: December 2019

Friday, December 13, 2019

List of Tutorials Used

I exported my Maya files (with no texture applied) as .OBJ files and made a small node tree in Nuke to display it, however without texture, it would not appear within the camera. As such I textured the Maya file before exporting again and this time it was viewable within the Nuke camera. I then set up then scene with the standard rendering triangle of Scene - Camera - ScanlineRenderer and attached my components to it. This then allowed me to place my Mech within the scene and render it out. The mech looked out of place, due to the lack of lighting and depth so I added a smoke effect to the scene in front of both the background plate and the object and rendered it out. The resulting video has smoke moving far too quickly, but I don't think it's necessary to fix this, as it functions very well as a proof of concept.

My initial node tree.

The object would not show on the camera if it was not textured.

This is the original render shot, without smoke.

My final node tree.

The final rendered video, 3 seconds long, as described in my storyboard.

A tour around the Nuke project.

Migrating from Softwares

My initial Wave video (included in portfolio) was made by exporting from a camera within the Arnold renderer within Maya. I exported it as an .EXR file and played back 150 frames of liquid simulation from a 2D render, placed this in an After Effects timeline and exported that as an H.264 MP4 video file.

A render frame using the Arnold Renderer exported and placed in an After Effects timeline.

I then decided to try and migrate my 3D models from Maya to Houdini to show exporting a 3D object rather than a 2D render. I did this by exporting my Mech in Maya as an .OBJ file which exported seamlessly into Houdini.

My mech model in Maya where it was created.

I placed the .OBJ export from Maya in the Houdini project folder then imported it.

This is the Mech OBJ file imported into Houdini.

I then decided I would try to recreate my Wave Machine in Houdini by exporting my basin without any water as an OBJ.

The Wave Machine in Maya where it was created.

The newly imported Wave Machine in Houdini.

This export was a failure because I had hidden objects in my Maya scene that weren't directly changeable in Houdini after the export. As such, I deleted those objects as well as the water particles in Maya so that I could instead learn to use the fluid simulation within Houdini.

The updated Maya export, with water and hidden objects removed.

Wave Machine 2nd attempt in Houdini.

A collision error I tried to solve in Houdini.

After working with Houdini, I came across a number of issues trying to replicate my Maya project. I initially had collision issues which I resolved but then found an issue with the water particles seemingly disappearing or decay with no explanation, I tried searching online for help but nothing seemed to work. The attempt at using Houdini and understanding how to export OBJ files was a success, as I now have an understanding of polygon modeling and a base level knowledge of fluid simulations and collisions, however the attempt to recreate my Wave Machine to a final render was not successful as I couldn't maintain the fluid long enough to set up a wave maker.

The blue cube shows the collision area of the fluid early in the simulation.

Further in the simulation the box is far smaller as the fluid has gone missing for whatever reason. It did not fall through the basin, it did not splash over the edges.

The final node tree within the Houdini project file, each of these has their own sub-tree that completes its own processes.

This is the sub-tree for the AutoDopNetwork node, showing the individual processes involved in producing a fluid simulation. Each of these has its own set of parameters you can change and reset in order to change the dynamics of the fluid simulation.

Object Texturing

In order to texture a shape in Maya, you have to use the Hypershade tool to create a node tree for the texture to follow, showing it as a more advanced production technique for images than a layer-based system in something like Adobe Photoshop. I created a simple 'Lambert' texture which acts like a 'null' to which I then applied a Photoshop PSD to, in order to create my initial texture.

I started with a simple black filled background and added the angled strokes filter to it and shifted the colour to a gray from the black. I also added a small amount of film grain to add more depth and detail to the texture before exporting.

This was the final result which was then added in to the Hypershade window and applied to my models

I initially textured this to the large body piece shape in the middle of my model.

I then added it to more shapes to see if having this overlap with one another is acceptable, and added in a background to show the separation as grey-on-grey was difficult to determine within the 3D workspace. I also experimented with using the Hypershade window to adjust the levels of the texture to produce darker textures to see if that helped differentiate the detail areas.

Obviously with multiple assets and multiple parts making them up, I will need to texture more than relying on a single texture, this is simply an explanation and example that I have learned how to apply them within Maya, which I can then use plentifully and diversely when creating my final assets.

Timed Animatic Storyboard

This shows a timed-out version of my storyboard with practical VFX examples when possible with what I have created at present. The ending is one of two options I have considered. This one follows my initial storyboard and ends with the protagonist unsure of how to proceed. An alternate ending sees him request evacuation over radio where a friend of his flies over in another ship with the implication that he rescues the protagonist.

Although the person used remains the same throughout in these concept pieces, I should state that the person under the pier is the civilian (0:21), the over-the-shoulder perspective immediately after is of the protagonist (0:26), and the person duplicating is the antagonist (0:35).

Model Detailing

The initial 3D model of the mech I made was incredibly basic, so I attempted to add a conceptual idea of detail to a small area that I will complete on the whole model during the asset creation module. This proof of concept was to add protruding pieces of geometry to the model resulting in this:

This is made of basic geometry in the same manner as done in the modeling explanation within my presentation, simple shapes aligned to create a more complex mesh.

I also grouped together this semi-sphere and cones to create an independently rotatable object within the model and used this to create the animatic for a shot I used in my final storyboard. This idea was conceived purely though this experimentation, and I feel like the shot seen there is a good way for me to show a close-up shot of the model and its movement which I lacked in the initial storyboard before developing it.

Asset Design Presentation

This presentation details the following in detail:

- Initial brainstorming
- 3 primary ideas
- Explanation of chosen idea
- Initial storyboard
- Explanations of VFX implementation ideas:
- POV HUD displays
- Fluid simulation
- 3D Modeling
- Rigging
- Green screen and keying
- Photogrammetry
- Look development
- Costume design
- Shooting details and equipment
- Goals and aims.

Link to Presentation:

Initial Storyboard Sketches

Initial Idea:

Futuristic warfare on a beach, a soldier find and attempts to shield a civilian from an unknown threat. The threat arrives, alone. It then duplicates itself when confronted and chases down the weakened soldier. The Ultra loses sight of the soldier and slowly pursues, finding the injured civilian and killing him instantly. The soldier hides, unsure of how to proceed.

Soldier on a beach near a pier. POV with CG HUD, tracked to have slight parallax with camera. Styled as 'futuristic' but damaged and made to look worse when we see the Super Soldier's improved version.

The soldier helps an injured civilian into cover under the pier. He equips the wounded man with a shield, that orbits him. It displays a hexagonal pattern when initiated, then cloaks the man turning him transparent as long as he remains still.

The soldier lies in wait on the beachfront as he sees one of the many airships nearing the shoreline. Either a model or a forced-perspective replica tracked in or masked to move.

Rear-view of the super soldier, looming ominously, remaining perfectly still. He is in the interior of the airship looking down onto the beach. Image projection or fully created 3D plane with water simulation for waves.

The super soldier duplicates himself and each one raises its weapon, slightly delayed from the previous. Green screen person and duplicate, or shoot several takes that vary slightly to improve realism over using the same take x amount of times.

The soldier retreats, unsure of how to proceed. The Ultra retracts his duplicates and walks past the pier.

POV from Ultra's perspective, showing more advanced HUD, tracked as the first.

The civilian looks on, petrified. In his terror he forgets not to move and checks the gash in his arm. Shield matrix tracked similar to HUDs.

The Ultra turns and immediately aims a perfect shot at the civilian, silencing him instantly. Matrix tracked as before.

The soldier is hidden. Struggling for ideas, he trusts his gut and runs back into the battlefield.

Inspiration and references:

Iron Man (Film, 2008, Jon Favreau)

GoldenEye 007 (Game, Nintendo 64, 1997, Rare)

Halo: Combat Evolved, Game, Xbox, 2001, Bungie)

These examples of POV-based heads-up displays (HUD) are my main inspiration for the ones I wish to include as tracked images, gifs or video sequences. The normal soldier is to be modeled after a beaten-up and broken version of the Halo HUD. The Ultra is to be a mixture of the Iron Man and Goldeneye HUDs, appearing more futuristic and contrasting with the human soldier.

Star Wars Episode II: Attack of the Clones, Film, 2002, George Lucus)

This shot from Star Wars Episode II was the inspiration for the shot of the Ultra looking out onto the beach. Primarily referenced for perspective, as I wish to make my own include more of the interior of the ship, for which I would 3D model or use image projection to display.