I've been adjusting the size of the branches of the tree, compared to the green screen footage and the icemen. If the icemen are too large they take on human scale proportions, which is confusing both from a storytelling point of view and a scaling point of view within the scene. If the icemen are small - almost the size of a small snowy icy drift caught in the branches we, as the audience, will upon first glance ask ourselves 'what are they? ice formations? men? characters? figments of the woman's imagination?'
With scaling the entire tree and associated textures, the render was slow. In 'dressing' the tree to shot (cutting off any unnecessary branches) the render time is signifiantly reduced.
I have the original tree file available for any mid to wide shots in other scenes.
This will require a new UV map, for these particular branches; the screen shots below show where the UV map is now incorrect (indicated by blurred sections on the branches).
Yesterday I had a one to one with Sang-Yu, to double check all the render settings and passes, before I get stuck into the animation
Below is a recording of the tutorial, showing the setting up of the render layers and then the render pass settings...
Setting up the associated multi-passes in render settings, and creating a duplicate render layer of the master layer.
New tree section requiring a new UV map; with the reflection multi-pass window
Set in Belfast (filmed on location in Sheffield and Liverpool) in 1971 - this film has one of the best chase sequences I've seen (clip below). Set in real time, with fast paced cuts, exhausting sound effects and relentless persuit through alleys, houses, bombed houses and streets. The special effects shrapnel, brick shards and concerete splinters, created by gun shots, were utterly convincing and the sound effects were incredible.
The post explosion scene (a home made bomb exploding in the back of a pub) was haunting, particularly by the use of distorted high pitched whistling silence and, as a viewer, I was completely disorientated by the lack of sound
The storyline was completely believable, and it was only at the end of the film that I remembered that the whole story was based in one single day/night.
The art direction was invisible and utterly convincing...from the house interiors, the external streets, the bombed out dressing and special effects...
Reminded me of the constant threat of bombing in London whilst growing up....and it was something we simply got used to.
I need some help with setting up the image planes and eyelines for my composition shots, involving the CG elements and the green screen live action....
so in the meantime, I've been following some tutorials on creating glass effects in After Effects
So, the next step, before I start animating, will be to position the tree and my icemen correctly, according to the eyeline of my actress, Kerry.
There is no camera movement, so there was no need for any tracking markers or subsequent camera tracking in Nuke.
For the purposes of positioning the icemen and tree correctly, I am going to take a snap shot of one of the green screen frames and then apply that to the scene, by way of an image plane in the foreground. I can then position the shot_cam correctly and know that my icemen will be in the correct position.
Tree scene with duplicated ice men...great to reflect back on some of the original inspiration and references for the icemen character - in this case the water woman in the Abyss...to keep a close eye on adherence to the original concept ideas.
I found that when I duplicated the iceman that the skin bind was lost...so in this scene I have one man directly in the scene (far right) and the others are referenced in (right click in an empty space on the Outliner and select reference). I created a stand alone scene file, with just a T pose iceman within it...this is the file that is referenced...
Test render using Mentalray - showing the UV mapped tree with bark, IBL lighting, directional lighting and the model using 50% thin glass and 50% frosted glass settings.
Left: Render view Right: Geometry and image plane in perspective view and a tear off 'shot cam' panel, which gives me a camera view at all times, regardless of the viewing angle in the perspective viewport
