3D Specialism – Look Development and Rendering

I am using Arnold for Houdini with ACES to render the scene. Lighting for the final render is an IBL HDR lighting, a directional light to represent a star, and a few thousand Arnold mesh lights. The mesh lights were used to imitate sunlight inside the ring, and to create light inside the elevator shaft […]

3D Specialism – Instancing

In total, the scene I sent to the render farm consisted of approximately 215000 objects. Most of these were instances of houses, trees, the glass roof, windows and other models. I used SideFX Houdini to lay out the points, and then copied the instances to them. Glass roof The glass roof was the setting stone […]

3D Specialism – Modelling the ring

The shape of the ring is a simple cylinder with three cut-outs, allowing for radial symmetry. These cut-outs serve as a place for a drive module which propels the ships when in space. These modules are fully modular – able to manoeuvre and orient themselves to suit any configuration. The outer part of the ring […]

3D Specialism – Introduction

A 3D asset is required as a submission for this module – CR6001. It is to be modelled, textured, lit and rendered along with turntables and other objects to support the submitted asset. Large-scale scenes and environments and the process of creating them has always caught my attention. For this module, I decided to make […]

Compositing for VFX – 3D Cleanup

A 3D cleanup is different from a classic 2D cleanup. In 3D, we use match-moved camera to stick clean patches onto the original plate. A typical 3D cleanup involves a 3D camera (I used my 3DEqualizer match-moved camera from VX5001), then freezing the position using FrameHold, RotoPaint as in 2D. After this, the clean patch […]

Compositing for VFX – 2D Cleanup

A 2D cleanup is the process of removing an object from the original plate and making a clean patch which is sticked on the 2D tracked original backplate. A typical cleanup involves using 2D tracker node to track the desired area, then freezing the frame using FrameHold (preferably a frame where the desired object covers […]

Compositing for VFX – CG Rebuild

This blog post is about the CG rebuild process in Nuke. All the rendered elements with respective AOVs were used to rebuild the final beauty pass. Below are images of all the AOVs displayed using the LayerContactSheet node inside Nuke. I added some additional passes as opposed to the final render from VX5001 – 3D […]

Compositing for VFX – Introduction

In this module, we picked up the rendered elements from 3D for Visual Effects. This includes all render passes, footage and match-moved 3D camera data from 3DEqualizer. The entire module was structured for us to revise skills learned in the first year and then learn a substantial amount of new techniques and industry-standard workflows. Our […]

3D For VFX – Week Six

Setting up the final render For the final render, we were instructed to use these AOVs (Arbitrary Output Variables) as the minimum requirement: Beauty (RGBA), Direct Diffuse, Indirect Diffuse, Direct Specular, Indirect Specular, Ambient Occlusion, Masks and Alpha for all geometry. Below are all AOVs I have used with my render in Arnold. Render layers […]

Setting up ACES colour management

This blog post will guide you on how to set up Academy Color Encoding System in Autodesk Maya, Substance Painter and Nuke. ACES is mainly handled by OpenColorIO, a colour management solution which makes setting up projects for ACES easy across all operating systems and applications. “OpenColorIO (OCIO) is is a complete color management solution […]