Ok, the link is fixed now. Thanks for the compliment and of course you can share it! You might have to fix the broken link if you already shared it though...
Null Unit- I just watched King Kong vs, Godzilla last night and there was a giant octopus that attacked Kong. You didn't have anything to do with that did you? Nice effect! Creepy and wondrous at the same time.
That's a fantastic use of planes and the twirl effect! The tentacles movements felt very natural that thing must be just MASSIVE! lol
Very interesting. I have a full sized/rigged cthulhu model, but I haven't really done anything with it yet.
Yeah, I need to play with that planes and twirl technique myself. What a brilliant idea! I love the simplicity in it. We have so many shots going for so much fine detail, and questions about IK and Mo-cap, the getting such a gorgeous effect from some flat shapes and a little distortion is a great reminder that, sometimes, simple is best.Sharing your video on the HPLHS Facebook generated another share or two and several likes, so I guess the Lovecraft crowd approve. ;-)
Hey thanks for awnsering my questions thus far! But could i please ask some more your stuff is very interesting!http://vimeo.com/854190161. How did you do the mixing of colors? No gradient could do that but then how did you mix such beautiful colors like that? Also did you change their transparency or something?http://vimeo.com/859020372. Im assuming this is an atomic particles twist but how did you get it to look like that? Its weirdly shaped and has main tentacles that seem to individually waver?http://vimeo.com/820723953. How did you create the light fire thing on the edges of the ball that wraps around it? http://vimeo.com/825373124. how does each square look so transparent? How do you make the colors mix and overlap? What is the grid on the background.http://vimeo.com/788045885. How was this shape created? http://vimeo.com/397492816. Did you artificially enhance this? If so how? If now what camera and lens did this... if i may ask.http://vimeo.com/562193777. Where did you get that model?please take your time thanks for answering my questions!
4. He just adjusted the transparency of the particles6. I think he applied a glow effect to the footage and he probably sharpen it as well
Mainly working on realism, a sense of scale and size. Theres also a little breakdown after.https://vimeo.com/87970542
Mission accomplished. That looks really good!
OK, I just got a chance to watch this in 1080 on my nice 18" Laptop monitor that's calibrated--not at 720 on a Samsung GS3:It totally holds up under that increased viewing size. That shot is very very nice! The scale is perfect--That feels to me like "Discovery" would look like over a beach. Knowing the Pod Bay doors aren't more than 10 feet across gives me a "ruler," and you scale it spot on!. Your fog and clouds give a nice sense of fog rolling in...I have a couple observations:Ya cheated your lighting a bit.;-) The specular highlight on "Discovery's" bridge is too near camera-center. It should be back on that far curve, near that lovely sun flare.The birds are well comped in and work, but, if you've seen Axel's "Birds into Face" test, then you probably guessed I'm gonna suggested isolating a couple of birds and using that an animated texture source for Atomic Particles. Atomic is be great for Flocking behavior. I bet if you put a spherical warp on atomic from a point centered around Discovery's bridge, you could get the birds to swirl around her hull.... ;-)Aaaaaaand.... I have this marvelous book, "The Lost Worlds of 2001," in which Arthur C. Clarke presents excerpts from various drafts to show how the story evolved: In several drafts "Discovery" is taken through the Stargate...So, I'm thinking two moons, or a ringed planet in the sky. :-)
Thanks for the compliments!I definitely cheated the lighting. I really wanted to use one light to mimic the sun, but I was getting too much shadowing when I would place the light in the correct area. I added a second light to fill thoses shadows, but wasn't getting the look I wanted. I kept wishing there was some sort of virtual bounce card I could place on the right side of the ship. But yeah, you can tell the lighting is not quite right. I'm going to mess around with that.And others have made comments about the birds not looking quit right too. I really should do Axel's Atomic Particle bird flock. Then they would move in a more natural way. By the way, I think thats a really untapped strength of atomic partices: mimicking flocking birds, schools of fish, swarms of bugs. The fractal and flow controls do that really well.
This is so intriguing! I want to know what the premise for this scene is
Mainly I just wanted to practice compositing and getting a sense of large scale, but the scene fell in to place nicely. It kind of feels like the Discovery is docked there somehow.
For the 'virtual bounce card' you want to use an environment map, with the model's materials set up to use diffuse reflectivity. This will use the env map to illuminate the model even where no actual light is falling upon it. This is a really good way to simulate bounced and ambient diffuse light.
Awesome! I'm going to do that. I was aware of this technique, but for some reason didn't think of it as a solution for this.
Yeah, you can export a still of your background video as a PNG file, put it in an embedded composite to blur the heck out of it, then use as an environment map source. If you use the source video directly, the reflections will be very sharp.Or, there are some true 360 wraparounds buried in the subfolders of wherever you installed Hitfilm. Can't remember the directory, and I am not on my PC, sorry. But one of those might match the general lighting and tone of your background video.
Amazing....This is an absolutely fantastic "energy ball" I'm seriously impressed. I need to learn how to do this....
Gorgeous!Your notes are also helpful to get to something similar. As you've pointed out, there's a lot of random in atomic, but even chaos follows rules and limitations. Thanks for the talk through.Oh, the audio working "like a Luminance map," analogy is close enough to be absolutely right, but, a bit of etymology:Technically speaking, any "black and white" image/channel that isn't RGB pixel data is an "alpha channel." (As explained to me in college, it really is just "a" channel.) The alpha data can then be applied as transparency, luma, height, specularity, displacement, or "anything" as a map, with black being 0/start and white being 100/end.To use a Hitfilm analogy, an alpha channel is a "graphic 2d point" --it holds data, but doesn't do anything until mapped/parented to a parameter.In video, we tend to only call them "alpha" channels when applied to transparency. That's cool.I prefer the term "map" to "channel" and prefer to just say what the alpha channel is driving: Luma map, height map, etc...Anyways, mattes, maps, masks, keys and channels are all the same thing in digital art--a set of numbers defining a selection and range of pixel values to modify that are visualized as a greyscale image.Apologies for the ramble. Pulled an all-nighter going after a very good deal on a Canon xf305 on ebay. Also, somehow REALLY tweaked my back, and I think the Vicodan I took is kicking in. Hopefully to sleep, since I work in 7 hours. (Bear in mind said Vicodan is left over from having to have my left shoulder basically rebuilt. I took that for five days after surgery.They gave me a pprescription for two months worth. I really hurt at the moment.)Anyway, once again, gorgeous effect, good notes, thanks.