WIP Desert Pool

[KNBits]

This is a scene we working on right now. We plan to mix live footage of a man sitting in the chair, with the camera moving in his direction. For now we still are at modeling, texturing & lighting stage, so any suggestion would be welcome.

[seven]

What is it about?

A Desert Pool... a man sitting... cameras moving....

What is it about?

[KenH]

That's real nice. Very imaginative. Crits...em...maybe a more saturated sky?

Is that a burnt out car in the middle ground?

[KNBits]

Thxs. Those images are for a theater show opening next month. The final version willl be heavily post-process.

 

I see what you mean for the sky saturation being a bit washed out. This is because the render show the horizon, and we've put a gradiant on the sky dome to fake distance (like the Fog effect). When the cam pan up, the blue is more saturated. I'll adjust that.

[Hutch]

This is really cool. It has a very surreal feel to it. Almost like futuristic Salvador Dali.

[KNBits]

Another render, later in the camera movement.

 

We hope to finish the scene by tomorrow so we can start the render and begin the Live action mixing process. That'll be fun.

 

Take care

[KenH]

Your work is very polished looking. I like it.

[Zaryin]

It looking interesting so far. I also would like to know where this image is leading. Also, who is the "we" that is working on this?

[balistic]

Really nice. The lighting looks spot-on. The only thing I don't like is the design of the camera. It seems a little plain-looking, like primatives mashed together.

 

Otherwise though, great-looking set!

[KNBits]

  I also would like to know where this image is leading. Also, who is the "we" that is working on this? 

 

It's start out as a very fast travelling out of the guy's stomach to the first picture (the entire move done in 4 sec), then the cam move in again, so the guy can have his speech up to the final. The "we" is the visual production team for this project, which involve 4 creators right now, but 2 on this particular part.

 

  Really nice. The lighting looks spot-on. The only thing I don't like is the design of the camera. It seems a little plain-looking, like primatives mashed together.

 

It definitely must be something wrong with the design because this isn't even a camera, but a one-person escape ship or something . Seriously you're right on, I didn't put a lot of work in it, because we didn't decide yet what final position it will end up in the set, and how much details I should put in.

 

 

 

Thxs for the feedbacks, it's appreciated.

[gschumsky]

That's real nice. Very imaginative. Crits...em...maybe a more saturated sky?

Is that a burnt out car in the middle ground?

I don't know, the sky pretty much looks like that in our local deserts (Glamis and Buttercup, on the edge of California near Yuma, Arizona). If there's any slight breeze there's going to be a fair amount of dust being kicked up in the horizon (or take a look at Return of the Jedi duing the Barge scene...that's at Buttercup, about 30 miles west of Yuma). Usually the sky is bluer first thing in the morning when everything is settled.

 

Nice feel to the scene. : ) Keep up the good work. (okay, I thought that was some sort of camera droid or something too..)

[nimblepix]

So, is the pool above or below ground?

In the last render, it seems to have moved up.

 

I think it's looking good, by the way.

 

[KNBits]

No it didn''t move. The pool is in the ground. The walls around the pool are one feet and a half above the ground surface.

 

The pool is at the top of a small hill, so it probably doesn't help for the eye to figure it out. But now that you point it out, yes it may be a concern. We'll see how it look with the cam movement.

 

 

Thxs

[KNBits]

Due to tight schedule, we decide to go for the render with this version. We'll eventually get back to it to render out more still. I'll get back to you with the final movie version with live mix.

 

Thxs for the feedback through this wip

[KenH]

I look forward to seeing the finished product!

[KNBits]

This is the first 4 seconds rendered with live action sequence mixed. A lot of smalls FX aren't done yet, and we aren't sure about the final color correction, but it gives an idea where it's heading.

 

Though a lot of things can't be changed at this point, we'll have to do the same process with another guy on the chair in the next ten days. Any suggestions or comments are welcome.

BSPartOneWeb.mov

[Mr. Jaqe]

What can I say? WOW! It looks awsome! Love the effect, love the ma... wait, this ain't going to come out right... anyway, I really like it.

 

The only, really really picky thing I can come up with is that I think the sun's a bit bright, but only by... something very small.

 

Again, awsome work!

[agep]

that is insanely cool!

[bentothemax]

WOW! that does look awesome.

 

 

Can't wait for the Final!

 

 

Good work

 

 

Ben

[luckbat]

That's pretty spectacular. It's nice to see A:M used for such slick visuals. I look forward to seeing more.

[KenH]

Really great. I just love widescreen. It's just so much....wide. Is that a blood stain in the pool? And are those birds real?

[KNBits]

The only, really really picky thing I can come up with is that I think the sun's a bit bright, but only by... something very small.

 

You are right.

 

The whole show is in the dark, so at the end when this sequence play, the director wanted to get a real bright effect on the audience to contrast. We'll go tomorrow at the theater to adjust it with the video projector, but it may be overbright right now

 

Is that a blood stain in the pool? And are those birds real?

 

yes this is blood. The work with blood FX was real cool on this project. A:M handle it just as we expect. More is to come in the rest of the sequence.

 

The birds are A:M. In fact it is the Eagle from the CD, quickly modified in a Raven like bird. We really like the flappin FX with 100 motion blur and 25 passes. It gives a nasty and dirty feeling.

 

Thxs for the comments and feedback!

[KenH]

This is freaky....if you rewind the clip, there's one frame with the ravens that repeats itself about half way through. But it doesn't going forwards.

 

I wanted to ask about the motion blur on the man.....was that done in post with other software?

And did you use "flocking" to animate the birds or is it done by hand?

 

Also, I was thinking that some mirages in the distance would be a cool effect if you felt like doing it.

[Paul Forwood]

Hey! That looks like me sitting in that chair! Except that I have shaved my beard off now. How'd you do that?

 

Really though, that's pretty cool! Nice textures too.

 

So, if that is a real person how did you handle it? Is it a static, cookie-cut image?

 

I'm glad you chose to zoom out from his eye rather than his stomache.

 

I would love to see the final!

[KNBits]

  This is freaky....if you rewind the clip, there's one frame with the ravens that repeats itself about half way through. But it doesn't going forwards.

 

Good eye. The birds were rendering as a different layer. So when the director ask us more birds, we just duplicate the layer and make some modification to it in our composition software (scale, flip, blur, etc).

 

 

I wanted to ask about the motion blur on the man.....was that done in post with other software?

 

Yes, radial blur set to Zoom in the composition software.

 

 

And did you use "flocking" to animate the birds or is it done by hand?

 

They are hand animated, constrained to different paths, and use the same flappin action, but we use the Ease channels to desynchronize their movement.

 

 

Also, I was thinking that some mirages in the distance would be a cool effect if you felt like doing it.

 

Indeed. This is part of small FX that would need to be add. Also heat distortion and smoke on the chimney (that may not be visible yet on this shot). Thxs for the suggestion

 

 

So, if that is a real person how did you handle it? Is it a static, cookie-cut image?

 

It is a video sequence. We did pull the camera back when we filmed it, but not by that much, so we scaled it down in our composition software, and chroma-key it. We then imported the sequence in A:M as a rotoscope to sync the cam movement, but did not include the Rotoscope in the final render, so we still could act on it if needed in our compo software.