Autodesk flame ibl lighting8/7/2023 I wanted it to feel like looking out of a window at a real landscape. The challenge was to strike a balance between having enough depth in the scene to make the 3D interesting, while keeping the scale feeling right. Stereographer Chris Vincze explains ‘As the stereographer on the project my job was to create a 3D stereoscopic environment that matched the directors’ vision, giving the landscapes an epic quality that matched the movie references. We had spaceships but added swirling motion trails and then a foreground canyon edge with interactive dust to solve the problem.’ An impressive epic painting in the distance was all very well but in stereo it required foreground elements. The brief was to have an epic scale but in scenes such as space-scape the scenes looked flat in stereo. The scale of each scene was the same physically but the creative scale needed to be different. Now with real plates we were able to update our previs edit and solve the transitional issues. Creative briefs were constantly being updated so the team settled to develop the matte paintings and assets for the cg scenes. The old ways of running around measuring the set no longer cut it and to track stereo back at the post house is bloody tricky without know dimensions of nearly everything.’ĢD Supervisor Matthew Unwin explains ‘Tracking all the scenes in stereo with a 20 second shot plus transition duration was proving challenging. McWilliam comments ‘If there’s once really big thing I’ve learned from the stereo VFX supervision, it’s make sure you take a LIDAR scan of every location. Sourcing paired lenses and calibration after every transit was essential as the alignment had to be so accurate. To achieve this, the footage was slowed to half the speed and later interlaced to avoid strobing. One of the main challenges was keeping the images sharp while moving the camera at a high speed. So when we turned up on set and it all worked and cut together just right the sense of satisfaction was great.’Ī stereo camera on a circular dolly track was used to capture the live action footage on each of the locations. ‘This was a job that required very specific timings and planning from 3D previz – explains 3D Supervisor Duncan McWilliam – If we could prove all the permutations worked in a previz accurate to real world scale scenarios then we knew the shoot would work….give or take! We spent plenty of time here checking and double-checking, it felt like a NASA project. MPC was responsible for creating fully CG environments and rebuilding live action shots, all in stereo. To unveil each of the genres, a 360 degree camera move was chosen, passing through the different landscapes. The five main genres were represented by different landscapes desert for western, space for sci fi, city for romantic comedy, country for period drama and ice for family. MPC was involved from an early stage, developing the Directors' vision with mood frames to create the right feel for each of the scenes. The journey takes us through a range of emotions – in a similar way that a movie would do. We wanted to create a 360 pan around massive, epic landscapes populated by movie iconography. This is our invitation to our audience to enter another world. ‘It is about escapism (explain the directors). Directed by Esther Wallace and Nick Tarte and produced by Sharon Kersley, the spot travels through different genres, unveiling epic stereo landscapes. An accompanying eResource (features 3D model files, scene files, and texture bitmaps, allowing you to practice the discussed techniques in Autodesk Maya and many other 3D programs.MPC has joined forces with Sky Creative to create a stunning stereo campaign to promote their film channel. Chapter-long case studies step you through more complex 3D lighting projects in Autodesk Maya. Software-agnostic examples lead you through useful 3D lighting set-ups. He includes guides for successful lighting in 3D animation. He discusses the use of light color, light location and direction, and light shadow types to recreate specific locations and to generate moods. Lee examines the history of lighting as applied to the fine arts, film, photography, and 3D animation. In this book, animation industry veteran and lighting expert Lee Lanier examines the importance of lighting and its ability to communicate information to the viewer. Aesthetic 3D Lighting: History, Theory, and Application delves into the history, the theory, and the practical and aesthetic application of lighting in the fine arts and 3D animation.
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