Since my 2000 word text, I have become interested in the use of matte paintings and how they aid most huge pictures, and I’m currently looking for inspiration on where to make them myself. This one stood out to me because of the transition from an unedited plate to a completely CG scene.
I followed a tutorial from Lynda on tracking and was able to use their project footage to create a scene where I inserted the Eiffel tower into a mountain range. As a personal extension, I attempted adding a coloured sky into the track, using a Roto node to give the sky a softer edge. In my free time, I used another clip of someone using a phone and tracked the screen manually using key frames due to there being too much movement to track automatically; through this method I used the Corner Pin node to replace the screen.
We began to learn about different types of tracking within Nuke: matchmoving and Corner Pin tracking.
Again, this is the type of project that requires a lot of practice and repetition to be able to understand it without having to refer back to my node tree. As an independent task, we were sent to practice tracking with a piece of footage of our own.
With this tree setup, I was able to create my own tracked clip, utilising both the matchmoving and the corner pin techniques.
“A 2,000-word text on the use of a physical set extension in a pre-1989 movie or genre, outlining how it was done (or how you assume it was done) and how it might be achieved these days, with clear diagrams of how it might work in 2.5D Space”
The procedures and approaches taken within the Visual Effects industry have undergone many changes over the years since their introduction. Some of these are subtle however; some of the well-known alterations changed the direction of post-production. One of the most prominent changes to take place and expand the possibilities to turn today’s films into what they are, was the transition from using 2D physical elements to working in digital 3D, with the introduction of CGI.
We had been practicing accuracy in rotoscoping in Nuke alongside our practical units, where I was able to get a rough idea of how to use splines and individual shapes. It is not perfect as I still need more practice on getting the small details, due to being used to Rotobrush in After Effects with little masking experience.
“A 2,000 word text on the use of a physical set extension in a pre-1989 movie or genre, outlining how it was done (or how you assume it was done) and how it might be achieved these days, with clear diagrams of how it might work in 2.5D Space”
“How aspects of VFX have moved from 2D to 3D production, and why you think this is”
Yesterday we went to London to visit The Mill, a leading VFX company with offices in London, New York City, Los Angeles and Chicago, established in 1990. I had previously known about them due to them having provided the VFX for Doctor Who until 2013, when they closed their TV department to focus mainly on commercials.