Week 9 & 10: Final week!

As we are narrowing down the days to our final review with our mentors we are focusing as much as we can on getting everything we need to do done on time.

Following the review with our mentors this week we all are focusing on the biggest issues with our shots first and then moving outwards to get our work to 100%.

Our notes from the review were...

Shot 3: push a more blue/cooler tone, add integrated light rays for continuity

Shot 5: fix the moving roto on the top of her head, bring back some of the highlights in the face, make the eye transition more noticeable, and make sure the facial feathers defocus is equal to that of the face (use makeup eyeliner for reference),

Shot 6: color is looking good, fix the roto on the left side

Shot 7: wing brightness is clamping a little bit, add a shadow on the wings where it goes under the vines

In the review, I was also able to speak to Nick about the color space issues I was having and he had some really good advice along with the nodes that would be the most useful in this situation.

I ended up solving the issue in different ways for different shots, for shot 5 I figured out that the plate that I was reading in from Sam that had the added facial feathers was in Gamma 2.2 but the plate I had been doing the color corrections to were rec 709 when I had Sam re-render this solver my issue within the viewport but not within the render. I ended up figuring out that I needed to be rendering in sRGB for my render to have the same result as my viewport because my viewport was being viewed in sRGB space. For the other shots, I only had to change my write node's color space to sRGB and it was able to fix my color issues.

This week I also created a quilt gizmo that you could plug in you shots into and it would put them into the quilt. The numbers of the inputs are the order of how the shots will appear in the quilt. In the future I would like to create user inputs where they can enter in how many shots they want to display in the quilt. In an updated version of this same gizmo I also made it so it would siplay first and last frames of each shot in the quilt. I would Ideally like to make it so the quilt can automatically source from the shots globals no matter what shot is connected to display the first and last frames of the shot. This however is a project to do at a later date.

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We Finished!

Below our final cut is the final Renders for all the shots and the breakdowns along with an node graphs and everything we did to complete this project.

Overall this was a really great experience we all worked really hard as a team, to make sure everything is complete and I am happy with how everything came out!

Final cut:

Shot 3:

I completed all of shot five on my own. I keyed the key out of the shot and I used several dmps to created the background, I layered a plate of birds flying, stars and the moon to create the backgroun and I layered that with volume rays and a light wrap to add dimension.

Shot5:

In shot 5 completed all the compositing except for the face feathers (Sam) and Kristof assisted me with the Key on the top of her head. For this shot I had to key her from the background because of how she is darker than the background the day to night transistion would loose all of her information. To begin this process I created a DMP of the background and painted out all of the super bright highlights. I then began keying her through a long tedious process of using keymixes, rotopaints and rotos to try to get the best key that I could but because of the super bright highlights I was never fully satifised with how the key came out. However I was then able to seperately color the foreground and the background to create a more even day to night transistion. To make the super brights on her hair look more integrated I had added the volume rays to look like moon rays reflecting off of her hair. I then tracked her eyes and colorcorrected them to be the yellow bird eye color and masked a roto around them to create the transistion.

Shot6:

For shot 6 Kristof did the scar compositing on her back and I did all the color and matte painting of the background. This shot is probably my favorite because it was one of our best filmed shots in general so it had much better color range for color correcting. I had made matte paintings of all the super brights and added the volume rays in the background for shot continuity.

Shot7:

In shot 7 Rebecca modelled rigged and animated the wings elise textured and lit them as well as providing me the wings alpha and the SL moss alpha and kristof created the actresses alpha. I did the rest of the compositing shown in this shot. For the wings I tracked them in with mocha pro and then color graded and compositied them in. I rotopainted the shadows in using a color correct node as a mask. I split comped the top and bottom areas of the shot to get the volume rays to track as if they were coming from the top of the screen as well and stay in place as the camera panned up. I then also color graded the background and fore ground sepratly and created a DMP of the top of the roof from footage with better exposure.

quilt