Breakdown
Invading
In this shot, I brought to the scene of warriors invading a village. Following a video tutorial of Houdini FX, I harnessed the height-field nodes to shape the geographical elements of the scene. Employing the use of attributes, I divided regions, including riverbeds, fields, and varying elevations of mountains, allowing for an approach to detailing and texturing. To enhance the realism of the scene, I utilized instance nodes to simulate the placement of forests and trees, adjusting their colors and sizes dynamically through attribute VOP. Characters and animations, sourced from Adobe mixamo.com, were integrated into the composition, with attention to randomizing their appearances and movements as they navigated the simulated environment. The efforts unfolded in Nuke, where I executed a compositing process. Color correction and grading were achieved through the diffuse and specular passes, ensuring a visual result. Employing techniques such as depth-of-field creation through depth passes and motion blur via Kronos, I meticulously fine-tuned every element to achieve a cinematic look. Despite experimenting with motion vector passes, I opted for the results offered by Kronos. The finishing touches included the application of effects like chromatic aberration, vignette, and gain, expertly mimicking the characteristics of a camera lens. I'll continue to refine this shot, my focus remains on increasing the variety of foliage and trees for a richer visual experience. Additionally, I am dedicated to fine-tuning the robotic camera movement, aiming for a seamless transition to a more natural and immersive feel.
The Giant Statue
The idea is from The Colossus of Rhodes, One of the seven wonders of the ancient world. In this project, I tried to seamlessly integrate a 3D asset into a live-action clip captured by a drone. The process involved ensuring a cohesive and realistic blend between the live footage and the digitally added statue sourced from Quixel Bridge. To achieve this integration, I employed PFtrack for camera tracking, allowing me to match the virtual camera movements with those captured in the live-action clip. Subsequently, in Blender, I fine-tuned the statue's position, applied textures, and set up lighting to harmonize with the surrounding environment. In the compositing phase using Nuke, I implemented a color grading approach. By leveraging passes such as diffuse-direct, indirect, specular, and others, I adjusted the statue's colors to align seamlessly with the color tone of the live-action clip. Attention to detail was paramount in erasing the rocks around the base of the statue from the clip, ensuring a seamless integration. To enhance the overall scene, I introduced a cloudy sky, infusing additional detail into the composition. The result successfully marries the live-action elements with the digitally added 3D asset, showcasing my camera tracking, 3D integration, and compositing for a cohesive and realistic visual narrative.
Iced Mace
For this project, I crafted a piece of footage showcasing the seamless integration of CG elements into a live-action clip. The process began with scene and arm tracking using PFtrack. Driven by a passion for learning and collaboration, I asked for the expertise of a friend who guided me in creating the iced mace asset and developing a procedural growing animation. Armed with these newly acquired skills, I imported a virtual camera and the asset into Maya, aligning the iced mace with the actress's arm. To elevate the visual authenticity, I applied an HDRi that I had shot on the set, enhancing the reflection of the iced mace for a more realistic impact. In the final step: compositing in Nuke, I executed a color match, ensuring a seamless blend between the live-action and CG elements. To heighten the dramatic effect, I added elements like smoke and ice dust, also re-gain, enhancing the overall visual impact. Additionally, I applied a frostbite effect to the actress's arm, delving into meticulous detailing for a more immersive experience.
The cat in the spaceship
A key focus was on the meticulous extraction of fur from the blue screen for this project, it's a challenge. I divided the regions to key the blue screen, paying special attention to areas with motion blur to ensure seamless integration. I carefully isolated the table on which the cat sits, enhancing the overall integrity. I experimented with the new technology at the time, AI Generation, to create a spaceship background. This AI-generated backdrop was then cropped to fit the shot, introducing a sci-fi element to the scene. The complexities of dealing with glass reflection were met with a strategic approach, combining it seamlessly with the outer space picture. To achieve a level of realism, I re-create the shadow of the cat and fine-tuned the values of the lens blur effect, ensuring the DOF and the bokeh mirrored that of a camera lens. This project showcases overcoming challenges in VFX. It seamlessly extracts fur, incorporates AI-generated elements, and pays attention to detail in reflections and lens effects to achieve a polished and visually captivating result.