This is the final output of our group project.
Month: June 2023
3D Equalizer is by no doubt the worlds leading 3D tracking solution, for merging live action footage with digital visual effects. This software specializes in 3D tracking and footage and gather points in order to create a geometry which would be used for Match Move purposes.
In the beginning after importing the image sequence and applying proper settings that are needed, we start by setting up points to track the footage. For this Tracking purpose, we need a will defined image where we can set the point which wont result us by giving jitters. For this reason we start by changing the color settings and getting a sharper perspective, which can be used for holding points at one place through out the video.
Later on, after the step of enhancing the color, we start applying tracking points. For this, we have to ctrl + left click on the desired location,and hit the track button. Sometimes, which there is a jerk or the desired point vanishes, we have to manually end the point or manually track the footage frame by frame. It is a bit burden some times, but we get to good results at such times.
After the step of tracking, we have to solve the points. This step is crucial as this helps us in getting a proper camera animation. Hence, having a smooter line with out anr jitter is crucial. With the help of Deviation browser we get the information through which we can analyse and pop out the track points which would be giving us the errors or a high value. A maximum value of 0.5-1 is needed to get a smoother camera flow.
curves for solving
After the step, with the help of these track points, we can build basic shapes, which would resemble the grid and its positions. This can be obtained by meshing the points using legacy. And after this step we can export the file to maya, where we can utilize this grids into making the match move needed for production purposes.
This is the final output of my personal project i.e., Meteor Shower
To make it simpler for me to colour-grade each layer individually while compositing, I rendered each layer separately for compositing purposes. So, after reformatting the plate, I color graded the Pyro. Later, I gave the meteor and pyro some glow so that it appeared to be glowing fire, and I combined it with the debris.
However, after importing the clouds, I gave them the appropriate transformations and colour graded them to match the sky plate. I came upon this picture of the sky plate online. Three to four flocks of birds were flying in the frame and there were numerous anomalies in this sky plate. For this reason, So for this reason I photoshopped the the image while making it a clean plate.
Following this, I rendered it out after adding and adjusting the blur to the meteor and clouds.
In order to simulate fill light and rim light for the scene during rendering, I first took two distinct distant lights and set them up. In addition to this, I used an ambient light to help me gather light from all directions. Another way to use these lights is to take an HDRI image that you like and produce lights with different colours. But for this instance, I refrained from the use of HDRI.
Since I am more accustomed to the Mantra renderer, I used it for my scene. In the beginning, I started by putting up the correct cameras and rendering path for the image. Later, I changed the settings and increased both the samplings and the pixel samples, which improved the render quality.
The main section, or forcing objects, follows this. In this section, we must manually inform the renderers of the objects they should render. As you can see, for the force object section of the renderings of debris (sparks), I indicated the path of the sparks, however for the forced matte, I used the Pyro path. I would receive a layer of sparks as a result of this procedure, resulting into the sparks that aren’t visible not to be rendered.
I started by building a simple model of a meteor. I took a sphere, sized it appropriately, and then added a mountain node as a result. This mountain node introduces noise to the surface by adding deformities to a geometry.
After this, I added an attribute named “attribute randomise” while scattering various points throughout the sphere’s surface. Every single point is given a random scale or characteristic thanks to this node. Later, I added spheres to these places and a boolean to make the surface of the model void.
After the modelling phase, I began the project’s primary duty, which is the creation of FX. I started by animating the meteor as necessary for this. I then used the point Velocity node to determine the velocity and add irregularities to it. Volume have the features of density, temperature, velocity, and in certain cases burn, which are the essential characteristics required for pyro emission.
After the modelling phase, I began the project’s primary duty, which is the creation of FX. I started by animating the meteor as necessary for this. I then used the point Velocity node to determine the velocity and add irregularities to it. Volume have the features of density, temperature, velocity, and in certain cases burn, which are the essential characteristics required for pyro emission.
The voxel size of a pyro stimulation is one of its most important components. The size of the voxels is a crucial aspect of stimulation quality. Slice thickness and pixel size both influence voxel size. The effect of stimulation performs more effectively the lower its value is.
I attached each of these volumes to a Pyro source node after this step. The input geometry of the Pyro Source SOP is transformed into points that can be used as sources for pyro and smoke simulations. The generated points can be rasterized and imported into the desired DOP fields by the Volume Source node after being added with the specified characteristics by this SOP.
By changing the values of density, temperature, and velocity, I began pyrotechnics. This phase is essential since it is the centre of attention. This phase allows us to distinguish between the pyro of a candle and the pyro of an eruption of a volcano.
The process of manipulating the pyro to increase its potency begins after this phase. Due to this, I changed the properties of Turbulence and Disturbance (which refers to a fluid’s departure from a smooth (laminar) flow), which means that we added noise or, disturbance to the flow. Vorticity, which is an irregular eddying motion, is what defines turbulence. Adding shredding to this project was a must as Shredding is the main method for adding the kind of high-frequency details to the stimulation.
Additionally, I enhanced this stimulation by including a gas vortex confinement node. This gas confinement node enhanced the visual appeal and further shredding the pyro effects by adding even more small features.
shape attributes for pyro
I eliminated all the attributes that I would no longer require after Pyro solver. Temperature and density would be the necessary factors. The texturing of Pyro requires these properties. Additionally, I volume compressed this stimulation while I was conducting it, which helped to shorten the stimulation’s duration by removing unnecessary voxels and characteristics. File caching comes after this stimulation.
Later with the help of Pyro bake volume I added the texture to the pyro.
The secondary components of stimulation—sparks—come next. For this, I created a straightforward pop system and added pop force to give it variety in particle emission and velocity. Following that, I added a trail to these particles, turned it into a line, and then textured it appropriately.
Categories
Low-Fi: Project: WRENCH
In the task of modeling a second item, I pondered over my options and ultimately settled on a wrench or spanner. These tools are particularly useful in providing a secure grip and mechanical advantage when it comes to applying torque and turning objects, such as nuts and bolts. Furthermore, they serve the purpose of preventing these objects from turning, thereby ensuring that they remain securely in place.The Second model that I had to model was any choice of “tool”. Hence for this reason I started going with a wrench or a spanner. A wrench or spanner is a tool used to provide grip and mechanical advantage in applying torque to turn objects—usually rotary fasteners, such as nuts and bolts—or keep them from turning.
It never ceases to amaze me how a seemingly ordinary block can be transformed into a true work of art. I recently embarked on a project that involved utilizing a variety of basic shapes, including boxes and cylinders, to create an intricate spanner. To begin, I took a rectangular box and employed the smooth select feature to bend the upper portion of the spanner. This was accomplished by selecting any edge, vertex, or face and pressing the key ‘B’. From there, I used the extrude tool to create the upper section of the spanner.
Using the same technique, I went on to create the second head of the spanner. However, to ensure that the upper portion would fit seamlessly into the void, I had to extrude some faces and merge the edges to create a single vertex. Initially, I had considered using the Boolean tool, but ultimately decided against it due to the potential for “N-Gons” to occur. These are faces with more than four sides, and can lead to unusual rendering results if not handled properly.
For the handle, I started with a cylinder and skillfully beveled the corners to create a beautiful capsule-like effect. With the extrude tool, I was able to create the final, simple handle, which perfectly complemented the intricate design of the spanner. All in all, it was a challenging but incredibly rewarding project, and I’m thrilled with the results.I am amazed how a single piece of block can be turned into an art work. In this project I have manipulated all the basic shapes such as box or a cylinder.
Upon completion of the UV cleaning stage, I proceeded to import the model into Substance Painter, a software program that was initially unfamiliar to me. As a newcomer to the world of texturing and layering effects, I found the interface to be user-friendly and highly creative, requiring only a basic understanding of texturing to produce visually stunning artwork.
To start, I decided to apply a “rough steel” texture to the spanner, which I then augmented by adding several scratches and paint marks to give it a more rugged, weathered appearance. I found the existing brush effects to be highly effective in streamlining this process, allowing me to achieve the desired outcome with minimal effort. Moving on to the handle, I used a Carbon Fiber texture, adjusting the tiling size to suit my vision and bring out the desired effect. I then used the brush tool to add more roughness to the handle, enhancing its overall aesthetic appeal and creating a more immersive experience for the viewer. Overall, I found the entire texturing process to be both rewarding and creatively fulfilling, and I look forward to exploring more advanced techniques and tools in the future.
Categories
Low fi: Project: Window
As I set out to undertake the task of designing the window for the Low-Fi project, my mind was filled with a clear and concise vision. The window needed to be both practical and functional, while exuding a sense of antiquity and simplicity.
To achieve this, I began the process by utilizing the boolean function on a cube with bevelled edges. This action allowed me to create a surface intersection, which I then used to outline the window’s border. From there, I took the central faces of the surface and pulled them downwards towards the middle, creating a border that would house glass panes.
Next, I used the same booleaned surface to create the exterior of the window. I selected the outer edges and extruded them with a slight offset, which gave the window a sloping appearance. This step was essential in achieving the desired effect of antiquity and simplicity. Finally, I merged the extruded edges to create a single, cohesive unit.
Initially, my plan was to design a set of three windows. However, after consulting with the group leader, it was decided that a single, unified piece would be more suitable for the project. The resulting design was not only practical and functional but also visually appealing, perfectly embodying the desired sense of antiquity and simplicity.
Upon completion of the UV cleaning stage, I proceeded to import the model into Substance PainterTo start, I decided to apply a “rough steel” texture to the window, which I then augmented by adding several scratches to give it a more used, rusted appearance. Overall, I found the entire texturing process to be both rewarding and creatively fulfilling, and I look forward to exploring more advanced techniques and tools in the future.