|05-22-2013, 09:35 PM||#1|
Lord of the postsportfolio
Set extension and camera mapping
Lately, I've been interested in pursuing and creating effects for film and learning the trade of compositing.
Among other things I've been wondering about the techniques involved in set extension and I basically just have some questions on that.
To start off with I'm going to take two examples to see if I understand this correctly.
In this clip the whole environment is basically pre-rendered and composited together with a live action set(in some parts). Evidently some parts are full 3D. I just assume this can be quite tricky to make it come together seamlessly concerning color matching, light mathcing etc. Or do they in fact mask out the live set at the end and replace it so what you see is all pre-rendered?
This seems to be done just using camera mapping and doing that you don't need to prerender or match anything more than what can be mocked up in photoshop. Also the integration is alot easier to achieve. This is "somewhat" more cost effective since you usually just have a more or less fixed camera, but I assume this isn't always the case?
So I know I'm jibbering alot in my posts when I don't have a really clear question, but hopefully you can follow along and perhaps give some inputs to fill in my blanks on the subject.
My main concern is how to make the integration look great and to see if my thought process is on the right path concerning the difference in the way you create set extensions.
Thanks in advance.
|05-23-2013, 10:15 AM||#2|
Join Date: Sep 2009
for the avengers clip: i guess the only real thing there is "Hawk eye" in front of a green screen, everything else is full CG. if you dig for some making of articles and clips of "the avengers" you will see the rebuild a huge part of new york and took a really huge amount of photos to do so. so ilm had the freedom to move where the director wanted
|06-13-2013, 09:22 PM||#3|
Join Date: May 2013
Regarding your second example :
One of (or THE) the compositors from this shot, is actually a tutor of mine. He once brought that very secquence with him, and we practiced our rotoscoping skills in nuke with it Aside from the rotoscoping, we also talked a bit about the basic build of that shot.
So roughly the shot should be built like this :
Camera tracking (we did it with the standart 2D track, but i guess for the camera mapping they used the 3D track) --> probably followed by an export of the camera Data to Maya or 3Ds Max
Importing the 3D work inside nuke
compositing (I am not sure, wether they built a scene inside nuke and projected the 3D work on it, or if they just imported the 3D stuff and had a matching camera already )
They probably also calculated the lens distorion, and added it back on later.
Hope I could help,
|06-13-2013, 09:22 PM||#4|
Lord of the posts
Join Date: Sep 2003
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