Hah, yeah next time. Or when I do an FX heavy short! 
Yeah the gun ship, might bet an extra cool shot in there but we’ll see. Or it might be mostly the right shaders and such to make it textured. I’m working on the car now to get that closer to awesome. I’ll post soon the updates on that.
damn… another holywood production as I see :bounce: great, there is nothing to crit, just wish you good luck to push it to the end with current quality.
really nice, but I think that hand is too yellow, it needs more cyan color, like on the face. \You shoud adjust that.Even if light worked different way while shooting (you probably were shooting with some blueish light).
good luck
I like the motion graphics part. but composite could use some work as arturro stated. Could use some bue light wrap into hand, get rid of dark edges and tweak color of on set lighting from purple to blue/green to match screen.
Looking good though. Can’t wait to see the destruction shots.
Software: Maya
spy car coming along… needs more finessing. Any tips on the mi_car_paint_phen shader? I feel like that will be the key when I motion blur it 'n stuff.
Software: Maya
This is a first pass, see how it looks over the BG, render. It’s not rendered in passes yet. It’s just a stright render with the BG in the render. Comments totally welcome! I’d like to see more reflection moveing by on the car. shadows are same as my test setup, so lighting is rough. Car also has some missaligned objects (the headlights on the left side)
car seems a bit squashed. (in relation to the other cars). I think it should be proportional to a lambo.
but your shots coming along. Awesome job!!!
It is a good progress. I like that once you add live action to CG and than CG to live action. Car movement is a bit jerky at least it feels jerky to me. With reflections of cars passed by and buildinhs etc. this will look great. So far I think it is going in the right direction. Be carfull with car size. (wheels are always good size reference point)
I have very similar shot in my animatic and I was just working on it this weekend. Although mine is full CGI.
Thanks guys! Great notes! I’ll pass them along to Doug (or he’ll see them here 
) This was his first pass at each of these. I asked him not to color correct them too much since I want to add a strong overall CC to all the shots.
Agreed. I was looking at it wondering, somehting is off on the scale but what? I’ll try to adjust that see how it matches up.
I think the track needs a bit of refinement, yeah I see the jerkyness too. I’m trying to figure out how to get the best reflections on the car. I’m thinking I might need to go shoot a rough HDRI of that set this weekend, since that is one of the shots I missed getting it before.
Lots to do, ARGH, lol. I keep having to go out of town during this competition, at least now I’m in town for the remainder and will really get to cranking out these shots (with Doug and possibly another comper)
A lighter friend of mine gave me this advice for my car render
Take the gamma out of the render then add it back in, in comp. So render in MR with a 2.2 gamma adjust the lights for that (quad fall off on lights) make a poor mans HDRI (since I didn’t get one day off) by going there same time of day, shoot 2 stops down and get it roughly. I added, I would project the cars onto rough geo for reflections in plate.
He said taking out gamma, and adding back in, in comp is the easiest way to make it look better with the least amount of work. Also he said just use a phong shader for the metalic car look.
I should say I’m pharaphrasing since he is very verboise and explained it in much more detail.
make sure to Render in exr (or any 16bit format), or you might clip in black when taking the gamma out, and you won’t be able to recover in comp. Basicly your friend suggest to have a linear workflow? Or maybe I didn’t get your description correctly 
If you need any insight on working in a linear workflow, and an explanation of why it,s always more realist, just beep me, it will be a pleasure to explain!
Keep up the good work, your projects is shaping up nicely!
I thought sure explain away, love to hear more insight and learn! Then I thought, I better google it, since I’m sure the answer is sitting there on a page already explained. But I’d be more than happy to hear your explanation too. I’m going to post links here as I find them too.
http://www.djx.com.au/blog/2008/09/13/linear-workflow-and-gamma/
seems to have a bunch of info… reading that now.
allo alloo… For a quick poor mans reflection…consider going out side to the street and take a few pics of the cars parked (best it the cars are lined up one after the other) then stitch it together so you have a long line of cars. Add a plane to your scene and texture it with the cars and animate the plane going in the opposite direction as your 3D car. If the plane is close enough…your car will pick up the reflections from the plane. Do the same for your buildings.
I think gamma in post is a good idea too. But also…I would bring down the whites of your 3d car. If you look at the SUV going by…thats looks like a white SUV and look at the white arrow under the SUV. To better intergrate…match the whites and blacks.
The color of your car is a little to bright also. If you look at all the other cars…they are dark and desaturated. I’d match your red levels to the red car in the footage and then bring up the gamma a little.
hope it helps…
cheers
Well I’ll try to make things as simple as possible because everytime I read about it somewhere, people jump straight into weird words to explain stuff they know almost nothing about (not that I know alot…but someone thaught me the background explanation and how to work with it).
So basicly, it starts back when TV was invented. They had problem getting what was filmed to show up exactly like the reality when it was on tv. So they basicly just said, hey! lets compensate, and add a (it’s more complex I believe but this is close enought) 2,2 gamma to the screen. From then, when problems were fixed, they didn’t ask themself much so they ended up making all the camcorders/camera/whatever compensate the image with a 0,4545 gamma value, because all the screens in the world compensate the image with a 2.2 gamma afterward.
So why do it in 3d too? Because when you do color correction, a blur or glows, or any mathematical operation in comp, you actually add those on top of a compensated image and you lose alot of information. The best example is taking a nigh shot of a city. Add a blur on top of it. Then take the same image, do a 0,4545 gamma value correction on it, then do your blur, then recorrect the gamma value at 2.2. Compare the 2 images and you’ll see that the highlights aren’t lost in the gamma corrected version.
The only ‘problem’ with this is that you have to render 16bits files, so you don’t ‘clip’ in black or in the white when you gamma correct it. The good point is that 16bits are generally ALREADY gamma corrected, because mental ray (and other renderers) calculate the images in a linear way. So when you render an image and you save it as .exr it will appear darker then what you rendered on screen. So in Comp, you just have to add whatever correction you want on it, and at the end add a 2.2 gamma correct because saving in another format.
The pro of using this? Your lighting will look much better in the end, your reflections, highlights, glow and all the passes your merge together in comp will work in a much more realistic way.
Did that make any sense? If not, just try the example I said about the city night shot. You’ll see the difference, and that’s all you need really
yeah thanks that makes a lot of sense. Thanks for taking the time to write that! I’ve been reading up on implementing it in maya too. Seems like the thing to know if you’re a lighter in live action. This is the fun part of the project, learning this kind of thing. Getting good at area’s outside my specialty (FX). I’m doing a lot of afterfx self educating too. Good times.
Software: Maya
this is what will be outside the moon base. Dougs taking over this shot too, while I focus on the car/jet/missle shots.
Earth is a picture of the earth, same picture used as bump, and a facing ratio added in for the edge effect.
Moon is a bunch of fluid textures (mostly billow noise) bump/displacing the surface of a poly plane.
all comped in photoshop for now. Doug my or may not re-render and have his way with them… ew.
