Categories
ADVANCE & EXPERIMENTAL Compositing

WEEK 14 NUKE: COLOR PASSES INTO 3D SPACES

Working with color passes, which are independent images that reflect various components of the final composite, is one of Nuke’s key capabilities. By modifying the distinct elements that make up the composite, such as shadows, highlights, and reflections, color passes can be utilized to produce a final image that is more polished and realistic. Artists can have more control over the final image and make changes to specific elements without altering the composite by dividing these components into independent passes. In this approach, color passes to enhance the final product’s overall quality while enabling more effective and efficient compositing procedures.

To begin with, we had given a .exr image, which had all the element information such as shadows, highlights, and reflections. We had to manipulate it and color grade the truck to match and merge the truck along with the respective background.

Following to this, I manipulated the passes according to what is needed, which you can see below.

Car
Background
Workflow

Diffuse Manipulation

Color Grading
Specular Manipulation
Shadow Pass
Merging Together

Here is an another example which was obtained with the help of manipulating the passes. I started by manipulating the Specular passes of the car, which helped in matching the tone of the car to that of the background. Specular plays a crucial role in image pass manipulating. It helps in manipulating the Luminance pass of the car. Following to this, I manipulated the diffuse pass. This was according to the ratio needed for the car merging with the background and softing the light which bounces off the car.

After this step, I matched the color of the car by using the color grading method, in which we match the color according to that of the background. This step helped me a lot in getting the final touch for merging it with the background.

Workflow
Specular pass
Adjusting the Specual
Addition of Diffuse
Manipulating the Diffuse pass

Final Result after Color Grading
Categories
ADVANCE & EXPERIMENTAL MAYA

WEEK 11-14 MAYA: RUBE GOLDBERGS MACHINE

Rube Goldberg the name comes from an engineer named Reuben Goldberg who graduated from the University of California at Berkeley in the year 1904. Rube Goldberg used to sketch and drawing by taking reference from newspapers and magazines. But persuade the profession of engineering due to his father as he opposed the field of cartoons. After designing sewer systems for 6 months, he left the job after feeling distress and unsatisfied and joined a company named as San Francisco Chronicle to pursue the field of cartoon making, followed by sketching fighters in an MMA boxing ring.

In spite not being a famous artist in the beginning Goldberg hit of and became famous for his comics and news articles. But it was Goldberg’s invention series in which he showcased his engineering knowledge in comics, starring professor Lucifer Gorgonzola which was the best remembered. Later on, his knowledge of engineering was used to create elaborate contraptions to complete the simple tasks in an extraordinary way. These cartoons led Goldberg to win the Pulitzer Prize in the year 1948. And thus, these machines were created in real life and bears his namesake.

PROJECT RUBE GOLDBERG’S MACHINE

In this project we had to create our own Rube Goldberg’s machine. The fun part about this project was to plan and design our own machine. My plan for this project was to make use of the Collisions of the tool named “BULLET” in maya as well as making use of the Constraints in Maya.

In this plan the main task was to design and create the elements of the Machine. It was big and a difficult task to plan this machine, as we had to take care about the real life physics that would affect the ball which would result in falling and colliding with the Dominoes (bricks) and also planning about which constraints would be applicable for the plan and give me the best result. Along with this, I also had to look about HOW would the elements connect to each other without causing any problems.

PLAN FOR RUBE GOLDBERGS MACHINE

After planning the main task of implementing started. This Rube Goldberg machine was made with the help Bullet solver in which we can use the physics and kinematics to create our FX. Bullet Solver is a simple but a vast field to begin with. It has varieties of tools such as Passive Rigid Body, Kinematic Rigid Body, Soft Body, Rigid Body Constraint, etc. In bullet we can set the selected objects to be rigid, soft, etc. by which we can manipulate its mass, collision attributes and many other things.

FIRST SET UP OF THE PLAN

When we assign a bullet tool to a object, it begins with giving us a default Bullet Solver and a rigid Body Shape node which is added to the selected object.

AFTER APPLYING BULLET TOOL

The Assigned rigid body has various types of settings which are to be manipulated to get the desired output. We can also select multiple objects at a single time while applying the bullet dynamics to it. Mass, Friction and restitution plays a very important role in dynamics. While mass represents the over all weight of the object/geometry, friction takes care about the smooth collision between the object and collider. Restitution on the other hand helps in the amount of bounce that the object will have. Higher the amount of restitution more the geometry will have the bounce force.

Collision shape takes a very crucial part when collision. There are various types of collision shapes such as Box, Sphere, Grid, which are usually used for default objects respectively. If in case we have a geometry that is not a default shape (box, sphere, grid), we need to use Hull or an auto compound which manipulates this shape as per the geometry and skins itself to it.

I used the hinge constraint which help in limiting the rotation and the movement of the object as if it was fixed by a hinge joint, like that of a door.

Playing with constrains was a bit difficult as it was not sticking to the geometry and its pivot point was slipping of the geometry. This problem was faced by numerous others classmates.

To solve this problem we have to reset the setting of the constraint tools before applying it to the geometry, deleting the history of the selected object. After that step we have to change and set the pivot point of the constraint to the center of the geometry so that it doesn’t cause the slip of the pivot.

Hinged rigid body

UNTEXTURED PLAN
WIRE FRAME
Categories
MAYA VFX FUNDAMENTALS

WEEK 11 MAYA: FX (ANIMATION AND BULLET DYNAMICS)

This week our main motive is to create stairs and adding falling balls to it. We started by duplicating special the boxes in a way it creates stairs. We added 0,1,-1 in order to get the axis right and added 10 units to it.

Then we started animating the ball manually.

The result was added with the help of graph editor and manually changing its position. Along with this we broke the tangents and manipulated the tangents to create a smooth transition. There were 2 balls: Ball A and Ball B, both having different characteristics.

Ball A was bouncy and Ball be had a weight and thats why it was less bouncy comparatively.

While animating the 2 ball we added weight to the broken tangents so that we can manipulate the curve individually to obtain a falling effect.

After the animation we started rendering.

Firstly we added the HDRI image to the arnold skydome light. Later on the base was added with the arnold shadow matte to get shadows on to the floor itself.

On the same day we started to learn a new concept in MAYA i.e. FX

We started it by learning more about Bullet And its various tools.

We started by knowing more about rigid bodies

  1. Active rigid body
  2. Passive rigid body

It started with learning more about collusion in between these rigid bodies. And with the help of this we started to collide more objects such as spheres and boxes that resembles dominoes.

Along with this we also learned about bullet Constraints, specifically Hinge, which acts like a point where an active object can be settled upon.

Categories
MAYA REELS VFX FUNDAMENTALS

TERM 1 SHOWREEL (MAYA, NUKE)

This is my Showreel from week 1 to week 10 (term 1) for subjects of Autodesk MAYA and Nuke. This showreel consists of all the assignments and projects that were given to us on the timeline.

Categories
ADVANCE & EXPERIMENTAL DESIGN FOR ANIMATION RESEARCH VFX FUNDAMENTALS

CRITICAL REPORT: PRODUCTION PIPE LINE FOR VISUAL EFFECTS

This critical report and its audio video presentation will focus on and gives us brief information about the production pipeline in the field of Visual Effects. It will tell us more about the overall procedures that takes place in the current VFX film industry.

My final critical report looks like the following:

AUDIO VIDEO PRESENTATION FOR CRITICAL REPORT.