Allan McKay
Live Action Series
Live Action Series
Warning ! Use headphones =)
My first jump into visual effects.
It was an interesting course and a lot of new things were acquired.There are pros and cons here, but in general it is good.I am glad to show you the results of my labors.
Below you will see some draft videos and a description of some parts.
It was an interesting course and a lot of new things were acquired.There are pros and cons here, but in general it is good.I am glad to show you the results of my labors.
Below you will see some draft videos and a description of some parts.
On my vimeo channel you can find videos of the problems I encountered in production.
Century City Building Destruction
In the first part, the goal was to go through the pipeline of a real film studio.
Initially walking through the pre-production phase we're collect information on how to properly approach shooting with visual effects.
The next step was to create a solid workflow for creating our destruction dynamics and integrating it into our shot with basic lighting and shading.
Then we move on to creating effects created on the basic simulation.(sparks,embers,glass impacts,debris,clouds of dirt spilling...)
After which we create many of our atmospheric effects, from various levels of dust, fire, explosions, shooters, smoke, smoke columns, flame bursts and internal large scale fire inside of the building, and dozens of other layers.
Meanwhile we have many intermediate implementations of our elements into composite inside of Nuke,then the final lighting and the final comp in Nuke.
Initially walking through the pre-production phase we're collect information on how to properly approach shooting with visual effects.
The next step was to create a solid workflow for creating our destruction dynamics and integrating it into our shot with basic lighting and shading.
Then we move on to creating effects created on the basic simulation.(sparks,embers,glass impacts,debris,clouds of dirt spilling...)
After which we create many of our atmospheric effects, from various levels of dust, fire, explosions, shooters, smoke, smoke columns, flame bursts and internal large scale fire inside of the building, and dozens of other layers.
Meanwhile we have many intermediate implementations of our elements into composite inside of Nuke,then the final lighting and the final comp in Nuke.
RGB Mask
Different test shots and assets.
Armageddon Los Angeles
This visual effects sequence we see massive large scale asteroids raining down over LA destroying many buildings and creating major impacts and destruction. Some of the buildings they're hitting are over 470 feet tall and so retain their shape but show inner areas destroyed, while other buildings have total collapse from the disastrous impact from these asteroids. This is definitely themed around what you would see if Armageddon was created with todays technology and abilities, to be able to create feature film disaster film quality movie effects.
First challenge we look at the effects needed and begin to break down each of the shots requirements while doing paint overs of each of the shots to get a better idea before we move ahead.
Then, designing the look development of our asteroid, creating the fluid simulations of the entire effect and the FX asset in a way that we can easily bring this into any shot easily, with maximum detail and ease of implementation.
Once the first shot is created - with multiple asteroids tearing through one of the largest buildings in Los Angeles the Century Plaza Towers, we begin to roll the effects out into many shots with many other buildings being destroyed.
No building is left safe, including Die Hard's Nakatomi Plaza (aka Fox Tower)
The process involved in these shots is big but we learn to share assets and think ahead, and render things efficiently. Probably one of the most critical take-aways from this term will be how to render and create our effects so they aren't heavy and are easy to push through our render pipeline. We also look at many comp tricks and ways to get our shots through to final without wasting time - and many paint techniques
Scanners - Head Explosion Sequence
What we do as our own unique challenge is creating a real news-anchor set, having only a greenscreen shot of our talent speaking and performing, and creating the digital set and setting everything up - after which with our provided 3D matchmove of our talent, we develop our initial head explosion animation, creating a realistic simulation of the skin tearing open and chunks of flesh exploding out. Our focus is on getting our animation locked before we proceed with the blood, brain and other effects. After which we move into lighting and shading our shot creating realistic skin shaders as well as focusing on integrating and switching from the live action talent in our plate, to our CG character seamlessly.
Corona render Vray
Thanks for watching!
