Thank you Simon. It has been so easy.....after I knew what I had to do Looking forward to Part 2 and 3.
Cool! One thing that's tricky about this particular shot is the reflection in the water, which shouldn't really distort or change perspective even as the camera moves position. It should remain as an accurate reflection of the mountains Really, you need to have the reflection and the water surface as two separate elements, with the water surface shifting perspective but the reflection staying in place.
Yes, I thought so as well. The ripple pods (?) gave me a headache. So should I make a second plane and apply a mask around the reflection or just set it to Add? Are you covering this by any chance in one of your next tutorials ?
Um. You have projection set up correctly for the shot, but, with that water, I am thinking projection may be the wrong technique for this source picture.
I think you could take a 3D plane copy of the pic, mask to mountains, move back in Z-space and repeat for sky even further back in Z. For the water a 3D plane with the caustics effect, usings the source image as the caustics environment wrap.
Or,keep your current setup, since your sky and mountains are right, and just turn your ground screen into caustics.
Caustics in Hitfilm are misnamed. Caustics are the interference patterns caused by light hitting water. Hitfilm's Caustics effect is a water surface simulator. There was a huge thread on it last year where several of us hashed out how it worked. I will see if I can find it. Caustics is actually a sweet filter.
EDIT: before I find the thread, I share this. This is basically a caustics plane over a flat sky background. It's not the prettiest of the shots in that thread (@Mark_E really nailed a very photoreal shot, @SimonKJones tried a cgi Sunset proof-of-concept that could be refined into something stunning if he ever had another couple of hours to finish it, but he's a busy-busy guy.) However, for my shot, I pushed a couple of things.
Decent ripples around the buoy.
Note the rain ripples in the middle third.
Note the splash sucks. You can get some ripple and swell, but turbulent waves are too much.
Okay, I hope the guy in the aircraft is okay now.....
Caustics, I have to take a look at this. For normal I would have just masked out the alps and pushed them back and also the sky (as you described it, so a classic 2D to 3D), but I thought the water would not have the same look then. But the caustic sounds interesting, I will try it. Thanks
By the way, let´s say I put a helicopter inside the shot and let it flight over the lake, is there a way to make some turbulence and some nebula of the water? Maybe with a particle simulator?
That caustics thread died before we got to foam. The techniques I used for the bobbing buoy might translate for a start on heli backwash, and a combination of particles, and maybe some stock elements could get some splash and spray. Caustics isn't physics-driven, it's using an animated height map to shape the plane with controls more mapping a second plane as the reflection image and a third plane for refractions (of the water "floor"). So for the bobbing buoy there's an animated noise texture defining the water shape with radio waves in overlay mode making the ripples from the buoy. For the raindrops, the pond ripples effect on (I think) overlay. The last splash is bigger radio waves. But it's using the noise and overlay layers together to make a height map in an embedded comp shot to become the caustics source.
But remember, caustics is a plane, so it can't start any larger than 4000x4000, so you either have to scale down everything else (which screws up shadow rendering since Hitfilm shadows bitmap) or scale up the plane (and then figure out the proportional scales to fit your bitmap height map. Not impossible, but a bit tedious. The bouy shot is false-perspective. The airplane actually hits the water 2000 pixels behind the edge of the caustics plane. I made it a 2D layer but used an embedded composite shot to make a mask to get it to be masked by the water. Same with the buoy.
Huh. Until I started thinking about it I forgot I used that trick: copy object/camera to embedded composite shot, use grades to make object pure white, set up depth fog so black fog drops the object to black at a certain distance and you have a simple depth matte.
: o okayyyy. I still have to learn a lot Thank you great explanation.
A projector shot from a larger sequence. In the edit, it's 4 seconds with a 3 second fade. This is the full, 5 second shot shown forward-backward-forward.
My water is stretching, but I got my water ripples with Heat Distortion and Displacement .
Interesting approach to adding some wavy motion to the surface reflection plane! I'm curious how you have the Heat Distortion and Displacement effects layered? Does it make much of a difference visually?
The Opera house is a bit....flat But i like the water, looks like a long exposer
Forgot to mention, there's a linear blur vertical on-screen to try and push some of the water stretch where it should go. It's not really working, but, again, in the edit, we'll only see the first full second of the shot before it fades.
Oh, yeah, the Opera house needs some fixing.
Whatcha guys think? I can either alter the cam move and drop low to the water faster, or I can try using multiple angled planes to try for a bit of wraparound-depth, or try something else if anyone has a third or fourth idea.
Side note for Vegas editors: did you know Vegas can do adjustment/grade layers?
Create a new video track, right-click to Add Empty Event then add an effect. In the effect chain, grab the composite node and shift it all the way left so it's first. Now your effects should be effecting everything below. Of course if your adjustment layer would be the very top you can skip this tip and just put those effects on the Video Bus output, but that's a neat undocumented feature. I only bring this up because in the final edit a couple of the grades are Hitfilm effects in Vegas using the Hitfilm projects as Vegas media. Integration is awesome.
EDIT, since I keep saying "in the edit" here's the timing rough for context. This video is subject to deletion upon next revision.
Above video deleted. Updated version.
Heh, where did that video come from? Ambitious, to say the least!
Most of the shots are very nice. I'd argue to remove the Sydney shot, or rethink it, because it is so evidently projected compared to the rest. Maybe move the camera far less?
Yeah, I think the camera on Sydney needs to come down and straight in, rather than up and right. Other option is to put a few angled planes in as screens. A little structure in the geometry can go a long way--there was a demo at CTN in November: the Worlds of Warcraft team had done a trailer by projecting layered 2D artwork onto simplified planar geometry, so I know the concept works.
Changing the camera will be a lot easier, mind you.
Paris needs some tweaking, too. I bring that up because my first Paris shot was totally scrapped. Didn't like my stock video, so it's now a couple of still. Changing my sky (again) and some particle clouds will break up it's 2.5D-ness.
Ambitious? Heheh true. But, time to do some sequences. Shots I got. Although it's the latter shots that are really ambitious. I do get to re-use my "Andrew Kramer Star..."
Now... Which Doctor is it? I think it should actually be apparent for at least three reasons.
@SimonKJones Speaking of my above notes:
you may have already seen it, but i did several scenes with the 3D projection feature in hitfilm 3 for this video :http://youtu.be/RJdEhRlzt5w
@ Triem23 great work
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