Replacing the Photoshop Previs with the rendered CG elements

In order to do the last final camera set ups, I used an image plane showing my Photoshop mockup and then positioned the camera accordingly, so my icemen were in a similar position. I duplicated the Maya scene, where the icemen are sitting on the branch (as below) and created a new scene folder. This way the IBL, and lighting all remain consistent. And, just as it would be on set, the camera, rather than the set rotate!

Below:
Photoshop mock up of the live action and CG elements. This mock up comprised of a screen shot of the After Effects pre-comp of my actress and sky, plus a Photoshop layer showing a screen grab of a test render of the icemen.

Below:

Maya scene. Image plane shows the Photoshop mock up above; with the CG icemen as viewed through the new camera position. This way, I could recreate the approximate position of the iecmen, and make sure that Kerry's eyeline was correct.

In the final grading in comp there will be a blur on the foreground icemen and the sky; so that the focus will be on Kerry's expression.

Below:

Maya UI showing the perspective space (right) and shot_cam tear off panel (left) 

I used the tear off panel, so I could work in the perspective space and see immediately how the results and framing would look in the camera view. 

Test render below

Below:

Tree trimmed down, so that only the geometry that shows in the shot is in the file. This keeps the file size down.
Test render time at full HD resolution is currently at 11 mins 52 seconds per frame.

So I now have a clear shot list, including frame quantities, duplicated camera set ups and  shots will require animation.
Namely: Shot_07 through to Shot_13...(other than camera zoom, shots 7,9,11 and 13 are the same set up. The same with Shot_08 and Shot_10 which are also the same.

Shot list below, includes

frame start/finsh: shot number; details and notes of duplicated set ups; frame quantities

Rough cut Previs, no grading, final comp, effects or animation

Rough cut, with no grading, final comp, effects or animation.
This is to give a good idea of flow, shots, any picks up required, additional shots, camera changes and length of animation segments.
From showing this to Phillip Vaughan and also Sang Yu, the next steps are:
1. Animate the lens flare in the opening titles, so that it 'disappears' when behind the branches
2. To use live action footage of a church yard, rather than a still image. Now that the Previs includes mostly moving shots, this particular shot stands out.
3. Concentrate on accentuating the close up camera angles on the ice man...and to use Tilt Shift - good example here....https://www.youtube.com/watch?v=LSmgKRx5pBo,
 as we did with Toy Scandal, to create a definite 'scale' to the icemen
4. To include blurred out, abstract, sunlight images behind the closing shot of the water blob, and to have it as a macro shot.
5. To add, light wrap, and effects in the final grading, to reduce the appearance of 'studio lighting'.
6. To shoot some live action branches, with water droplets dripping, rather than trying to model CG droplets, dripping from the shot, which is purely backlit branches.

              

Macro shots ideas

Great run through of my updated Previs, showing the scene shots in sequence and rough mock ups of how the CG elements work with the footage. I wanted Sean to take a look, before I show the rough edit to Phillip Vaughan next week, so that I have all the info/tips/solutions to any potential problems in place, before I show Phillip the rough edit (pre-animation and comp)

Sean pointed me towards this film by Thomas Hogben, with reference to macro shots; so that the ice men's world is clearly different in appearance to the 'real' scale of the world that my character inhabits, Sean suggested that I have all the ice men, water droplets etc to be macro shot. Malcolm Finnie also suggested that where I have branches with dripping ice, I could actually film these in my back garden, rather that animating drops in Maya.
Next step will be to research some macro images as backgrounds, that can be blurred etc in After Effects.

LIGHT AND SIGHT - An Interpretation Of Light from Thomas Hogben on Vimeo.

Water droplets in Maya

Scene setting in Maya - using water droplets and backlighting

Scene setting and final shot set up

Scene setting and inserting the final shot set ups into the storyboard, so continuing edits can be made and the final footage from the timelapse and winter scenery, shot around Dundee in January can be framed in the shot.

Image directly below shows CG grass stems in Maya, with an image plane behind, of the landscape I filmed. I'm now using reference (left) of how water droplets form on stems and will recreate this in Maya (right).

Once all of this is complete then I will animate the melting ice men and then get everything into Nuke and begin comping it all together - including lots of light rays, God Rays and lens flare.

Dressing to shot

shot_10: Dressing to shot. I've deleted most of the tree and have just left the branches that appear in shot. The icemen have been removed and I will put some ice highlights on the branches...

This will save time on rendering

Green screen shots for the water droplet scene

Green screen image for the water droplet scene