I’ve been trying to get the timing and camera movement of the molecules shot right. To show the molecules vibrating, read the text and allow the viewer to appreciate that it creates the glyph shapes, is difficult to do within a short space of time. I don’t actually like the way the text looks here, so I’m going to remove it and add it in the comp. I’ve also stretched out the length of the shot to 8 seconds – i’ll need to decide how i’m going to fit it in when it comes to the composite.
Depth Passes and Rendering
I’ve realised that I only need to make one depth pass by copying the master render layer and adding the appropriate material etc. For some reason I had been messing around with each glyph, so it makes life a bit easier hopefully. I haven’t as yet sent off the geometry or the depth passes for render, that will happen before the end of the week. Here is a sample of the geometry with the soap bubble shader attached:
As far as the rest, I still have 4 shots to re-render in double HD. Some of the original shots should be good enough for HD 1080 as they don’t take up as much of the frame and are obstructed etc by other objects. Anyway, at the end of this week we’re going to have a little Nuke session with Sean Yu, and that will set me up nicely to get on with putting the passes together for the shots.
I started putting some of the particle layers together to see how they were shaping up, minus the geometry thus far. I also wanted to check how to reformat the double HD sized images easily back to HD. It turns out that Nuke has a reformat node that lets you do this easily.
Interms of the comp test, I was having a look to see if there would be some kind of template that I could put together for all of the shots. So far, It’s just a tree of merge nodes, with colour correct, glow etc with the different passes feeding in to them. Because each of the glyphs need more of something and less of something else, I don’t think there is a ‘one size fits all’ scenario unfortunately. I need to experiement with grading on an individual basis shot by shot. This may change as time passes!
Finally, I added the reformatted particles in with the Tiffs from the static church shot – the only issue is the misalignment of the central point of the glyphs and the speakers of the boom box. I can prpbably rescale the Tiff’s slightly here to match, but hopefully the other shots won’t have the same problem. It’s looking good though…
In order to make the glyphs sit in the scene better, I thought it might be nice to have the shapes create some kind of light when it intersects with the surrounding scene. So, how to do this? I remember seeing a tutorial a while ago that used inverted ambient occlusion passes to create a kind of laser scan effect, so I thought that I could use the exisiting collsion objects within the scene and the glyphs themselves, and create a series of ‘light lines’ where the geometry intersects. Here is the basic set up to get it to work:
- create a lambert material
- apply it to the collision objects in the scene
- name the lambert LightLineMaterial
- in the attributes, set the colour to black; the transparency to white; and diffuse to 0
- in the incandescence map channel, add in mib_ambient_occlusion texture
- set the bright value to black
- set the dar value to a light colour – in my case light blue
- max distance (determines the size of the line) 0.1
- Attributes for the collision polys – render stats – turn off cast/receive shadows
- Renderer – Mental Ray – FG turned on, 300 accuracey
- Add a transparent lambert to the glyphs – turn off cast/receive shadows
(Pics to follow)
Musical Notation and Cymatics Text Shot
I have updated the musical notation shot, ready to render, with the notes popping out in time with the music now.
The cymatics text shot, I had rendered and started the compositing process. However, the text was moving around in a rather random and unappealing fashion, and I realised that when I set up the shot, the text was too close to the tracked camera, making the slightest movement by the camera much exaggerated. So, I have decided to redo it with the text much further away from the camera. Second time lucky?
Particles and Rendering
All of the particles are now rendered (hopefully), so it’s full steam ahead with the compositing. I now have to figure out how to use Nuke in a semi-professional way. First up, unpremultiply and premultiply nodes! It should be remembered that you need to add in the unpremultiply node before colour correction and grading before sandwiching it with the premultiply node. This is to prevent the multiplication of coour with the alpha channel which can cause issues! The only point to note here, and I may be wrong, but it seems that this does not count for glows which shold be added after: