Project Evaluation

I did enjoy this project. This project taught me the importance of time management and how useful a schedule really is. Although the finished outcome and idea was not what I had originally set out to do, I am still pleased with the way it turned out, particularly the animation of the flying saucer/ UFO. Three weeks away from the final deadline I decided to change my choice of clip and animation idea completely as I reached a point where I could no longer progress with Maya Live as the initial clip lacked sufficient useful tracking points. I decided to choose the clip which my brother chose for his project, as it was a locked off camera shot and roughly 30 seconds long. I wanted to avoid tracking in Maya Live as it was confusing and tedious, plus I did not fully understand the way the tracking system worked. In addition Maya Live seemed to decide for you when it thought a tracking solve was successful.Even when the majority of the track was in the green. Needless to say I found Maya live rather annoying. I also wanted to avoid as much masking as possible as masking can sometimes look cheap and awkward to look at. I do not mind masking straight hard edges of buildings for example, but masking moving characters and objects is complex and laborious. I put of pride and effort into my work however time was running out which is why I made a conscious decision to change my idea radically to a much simpler idea in order to finish the project in time. I wanted to make sure I met the deadline and show something completed.

I learnt to appreciate the planning stages and that ideas can change radically during the project's development. I felt that during this project my modeling skills improved as I was able to model a simple 3D model design that was close to the original drawing. I also felt that my animating skills also improved as I was able to animate an effective fluid flight path, I also began to get to grips and understanding the graph editor. This project informed me of how crucial lighting is in order to create the illusion that the 3D model exists within the film footage. Lighting is what makes something look real or fake. My lighting was not spot on by any means but it was close to what was required and seemed to fit the lighting of the original footage. My knowledge of lighting within Maya and Lightwave is certainly improving and I am beginning to understand what settings do what and how to change light modes, colour and drop offs.

My Thoughts

I did find this particular project difficult more so than the last Industry Exercises project. This is probably because I wanted to focus more on the animation included within the film clip. The animation took quite a while because I wanted the UFO path to be as fluid as possible. I also wanted to include some secondary animation to the underside of the flying saucer to make the UFO more interesting.

I have to admit that my time management for this project was not as good as it should have been and my planning was not sufficient. I devoted to much time to the other project and did not maintain a balance between both projects. This can be demonstrated by how I had to make a radical decision to change my approach and idea to something quite different. I basically chose to work from scratch more than half way into this Industry Exercises Visual Effects & Compositing Project. Although I did change my mind quite late into the development process, I am pleased that I managed to meet the deadline and hand in a completed piece of work. Despite the fact that I had little time I managed to produce an effective piece of animation. My aim was to animate a design of my own and merge it with a movie clip so that it blended in and felt like it belonged with the original footage.

2001 Clip Sequence & 3D UFO

Above is the 2001 clip & UFO animation sequence starting from the bottom to the top. I was very pleased with the flight path and how I managed to texture the UFO so that it reflected the sky on the top and the desert landscape underneath. I was also pleased that the directional and ambient light I used was close to the lighting setup within the original footage. The shadow I animated and parented underneath the UFO in Adobe After Effects added depth and realism to the model. These components helped to create the illusion that the UFO did belong to the original clip.

Final Cut Pro & Editing

Editing this sequence was quite simple. I imported the original film clip with the sound into Final Cut Pro. I then deleted the video but left the sound. I then added the composited 2001 clip with the animated 3D UFO model into the video slide. I made sure that the sound was synced with the new video footage. I added a few sound and video transitions such as fade-ins and fade-outs. I then added a new sci-fi spaceship rumble bought from sound dogs to give the UFO some weight, thus making it blend in with the original film clip.

Adobe After Effects & Compositing

The compositing stage using Adobe After Effects was quite simple as very little masking was required. I simply imported the Lightwave rendered targa sequence into After Effects so that the flight path was within the top left region of the frame amongst the blue sky and distant mountain range. I then decided that a shadow animated and parented to the UFO would add depth and would thus make the UFO more realistic.

After doing this I learnt that I could have created a plane in Maya and extruded it to create a hilly region such as the one depicted in the original footage. I could have animated the UFO with a directional light present so that a shadow would be cast on the plane. I could then select both the UFO and the plane and make them transparent so only the shadow would be rendered. This would have created a more convincing shadow. However I think the shadow I created in Photoshop and animated in Adobe After Effects was decent enough to create the illusion of depth.

I could have even included a dust layer to suggest surface displacement caused by the UFO. This perhaps would have added an extra element of realism and detail which could have enhanced the animation.

Animating

This was perhaps the most difficult aspect and development stage of the entire project. I spent roughly two weeks making sure the animation was convincing and fluid. I had to start the animation of the UFO from scratch a few times as I was unhappy the way the animation looked. To begin with my animations were far too jerky and uneven. I then began to get the hang of the animation and created an animation I was happy with. This was due to the fact that I gradually set up key frames within the flight path and used the graph editor and the spline tool to smoothen the animation and make it more fluid.

I also animated a secondary ring extruded within the geometry of the UFO itself to make the animation more interesting. I decided to add more moving parts because the UFO flying on its own looked too bland and uninteresting. When also trying to incorporate a spin to the UFO's animation, for some reason the orientation was altered and instead of a constant spin being introduced Lightwave alterd its pitch and caused the UFO to bank. This was a complete accident however this fortunately made the animation look even better in my opinion as the flight path was no longer flat and uninteresting. Now the animation suggests that the UFO is attempting to adjust its flight path and balance after making turns.

Lighting

To light the 3D UFO modle effectively I used the original footage as reference and created a directional light source from behind the camera. I also placed a very faint ambient light below to give the impression that the ground below was reflecting light on to the underside of the craft.

3D Model (UFO Flying Saucer)

Below is an image of the finished 3D UFO/ Flying Saucer Model created using Lightwave. I was pleased with the way it turned out as it is very close to the original concept. I initially used a sphere and then squashed it to produce a simple disc like shape, I then added the necessary details so that the UFO design was not uninteresting.

I used this texture map to apply onto the surface of the flying saucer. I wanted the UFO to look as realistic as possible and look like it was reflecting its surroundings. The outer blue texture was applied to the top to imply that the sky was being reflected and a the inner sandy colour for the desert landscape. I made sure that the texture had the correct orrientation so that each colour was at its correct pole.

UFO/ Flying Saucer Sketches & Concepts (Designs)

Here are the final drawings of the Flying Saucer. I wanted the design to be simple yet stylish and slick. I wanted the design to resemble the classic UFO concept but with be incorporated with my own design. I wanted the UFO to be chrome and reflective so that its surroundings will be reflected on its surface.

These were my initial quick sketches of my UFO design. As you can see I took the simplistic design approach, and I pretty much knew what I wanted in terms of design as soon as I had carried out a little research.

UFO Design Research

The images below were found on the internet. I found these images in particular especially interesting in terms of design and shape.

The image above is of some kind of household appliance. It looks rather like a flying saucer too, it has a great shape and some cool details.

This image was great. The UFO depicted here also has an interesting design, subtle yet smart yet retaining the classic concept of the flying saucer.

The shapes above are really cool. The shapes are so simple yet interesting. Their form is defined by light more than anything else and no detail is present.

This is a 3D model made in 3DS Max. Again this design is interesting and is instead comprised of several key components adding to detail. However the overall shape is still true to the classic UFO concept.

Lighting Map

This is a little diagram of lighting positioning which I think Stanley Kubrick used as a setup for his shot in 2001. I may be completely wrong but I believe that he only used a couple of weak ambient lights to illuminate the ape. The rest of the lighting came from the matte painting/ background behind the character in the foreground. I shall use this as reference in conjunction with the original clip to create a basic lighting setup in order to light my 3D model effectively.

2001 Clip Boards (Plan of Animation)

Reason for choice of film clip.

I chose this particular scene as it is one of the longest locked off static camera shots of the film which has potential for including 3D animation over the top. The reason for this is because almost two thirds of the frame are completely unobstructed. There is plenty of blue sky for me to animate a UFO over the top and no tracking or masking is necessary. That way I can focus my attention to animating the UFO well. I also love the simple composition in the frame with the ape in the foreground and the vast expanse of a desert landscape in the background.

Analysis of Original film shot. I thought that the best way to incorporate a 3D model and animation was to first understand how Kubrick setup the shot, taking in to account the use of lighting and its direction as well as composition.

Quick sketch of UFO Flight Path

Firstly I wanted to map out a rough flight path that the UFO might follow. I decided I wanted the UFO to fly towards the centre of frame then turn to the left and out of shot. I did not want the UFO to simply fly in a straight line as this would have been uninteresting and would not have allowed for any interesting and effective animation.

Quick storyboards of UFO Flight Path.

Change of Plan

As I realised that tracking in Maya Live was going anywhere and I am now in the fourth week, I decided to scrap the Open Range idea and start completely from scratch with an entirely new idea. I decided to use the same film clip that my brother chose from 2001: a space odyssey because it was a perfect static camera shot which lasted for roughly thirty seconds. This shot provided a perfect opportunity to include some kind of 3D CG visual effects and animation. I wanted to make sure that I had something for the tutors to mark and I was worried that I would run out of time and not meet the deadline. I made a conscious decision to use a locked off shot which consequently needed no tracking as I could insert an airborne vehicle, and little or no masking was required. This meant that I could keep the project relatively simple and manageable yet still finish something that would look visually effective.

I decide that I would focus on the animation and the modeling process. My new idea would beto animate a massive low flying UFO within the 2001 film scene.

Problems Tracking

I have had real problems tracking using Maya Live. It seems everything that I have tried to do has failed and the tracking is always unsolvable. I have attempted to both add and remove tracking points. I realised that the problem was due to the fact that my tracking points were poor and were not defined enough from the rest of the movie clip. The other problem was, was the fact that there were simply not enough useful tracking points within the frame in the american planes landscape. I am really getting frustrated with Maya Live, I have been patient but now I am worried that I may not finish the project if I do not alter my plan of action. One way is that I could forget about using Maya Live, however this would mean that to make the animation half way decent I would have to key frame each 3D component to the camera shake of the camera. The other is to choose an entirely different scene from the film, however I discovered that not one shot is a static locked off shot. There is a final option which I am seriously considering. And that is to start entirely from scratch with a new idea and new film clip.

Maya Live: Tracking

Heres a few screen photos of my efforts to track one of the first shots in the Open Range Clip using Maya Live.

The tracking process is slow and tedious. It seems that adding more tracking points makes no difference and the track is red and unsolvable.

3D Model (Craft/ Ship)

Below is the complete flying hovercraft design as a 3D model in Maya. This is the model I initially created for the Animated Environments project. It's initial function was to become a futuristic dump truck. The dump truck is meant to have wheels, however for this project I deleted them and discovered that when deleted this vehicle then looked rather like some sort of shuttle craft. I was really pleased the way this model turned out and was close to the initial concept sketch. I believe that this model greatly improved my modeling skills as creating this model only took half a day as experimentation helped me to understand the way verts work and how to easily manipulate them to create the shape that I wanted. I also believe that I am now competent with the Extrude tool.

Wireframe of Ship/ Craft

Polygon Mesh of Ship/ Craft.

Occlusion render of Ship/ Craft

This render type was something I learnt to do in the Environments project. I love the way the Maya emphasises the form and structure of a model using light and shadow.
Below are various simple texture renders. I experimented with a few different textures so that I could determine an effective finish to the model. I was not too bothered about the textures as I was depending on both light and distance to obscure any detail in the final product. I did not think planar UV mapping would be necessary as i do not plan for any close up animations within the film clip. In theory if I can get the lighting just right and imitate the lighting in each shot of Open Range then I believe the model will look good enough. I have discovered that lighting can make a poorly textured model look great.

This is the texture I used for the top render. This was a texture finish that was more dirty and weathered.

Below is the texture I used for the middle render and was found on the internet. It is of a section of a bulkhead door design. I thought this texture looked quite interesting as there is a lot of weathering and detail. For this texture I was trying out a more clean texture and introducing a little more colour as I thought that perhaps a black finish would have been too much and would have looked odd in the Open Range Footage. The texture when applied to the model looks too symmetrical and vibrant, which would probably render the model out of place when imported into the original footage.

Here is another texture found on the Internet. This texture was used in the bottom render. For this texture I was trying for a more industrial & weathered finish. This is probably my favourite texture as it will probably be the easiest to merge with the overcast sky of various shots of Open Range. This grey finish will look far more convincing within the Open Range environment.

3D Model (Building/ Structure)

Here is a simple building design I did for the Environments project. I decided to use this model in this visual effects project as I determined that both premises were alike. In addition I intend to place this model in the distance of various shots of Open Range therefore you will not see too much detail. In Adobe After Effects I hope to lower the opacity of the targa sequence thus giving the impression of distance haze and will also create the illusion that the structure is part of the environment and as a consequence will blend in.

Wireframe of Building.

Polygon Mesh of Building/ Structure.

Occlusion render of Building / Structure.

Simple texture render of Building/ structure.

I believe the texture here really came out well. I am not too concerned about texture stretch as all I want to do is introduce some colour to the model.

I used the texture above to apply on to he surface of the 3D building model. I found this texture on the internet and is of the side of ship paneling. I found this texture particularly interesting because of its detail and weathered appearance.

Sketches & Concepts

Here are some simple concept sketches I did for the environment project. I decided to use these designs and include them in this project as-well. The top sketches could be used to build a 3D model of a structure/ building that could be featured in the background. The bottom sketches could be used to create a 3D model of the ship/ craft that would be hovering overhead.

I wanted to use these designs so that I could save a little time modeling and kill two birds with one stone.

Futuristic Building Design Research

Here are some images I found on the internet I looked at for inspiration for building/ structure designs. I wanted the buildings to seem futuristic yet intriguing to the viewer. I wanted to add something to the environment in the background of the original clip so that I could create something visually interesting.

Ship/ Craft Design Research

Here are some futuristic craft designs I found on the internet that I used for inspiration. I have some idea of what I want in terms of design. I want the craft designs to look technologically advanced.

Storyboards

I have studied each shot of the movie clip of Open Range, from composition to camera placement and movement. This entire clip consists of hand held camera shots. So compositing may be a challenge and some tracking will be required using the Maya Live plugin.

Below are the storyboard for the chosen clip.

Below are more storyboards of the same clip. In these boards I have analysed each shots potential regarding visual effects. The writing in red indicates that there are far too many variables/ obstacles or problems that would make the introduction of visual effects very difficult. For example if the camera is moving to much then extensive tracking is needed. Some shots do not have appropriate tracking positions, others do not provide sufficient masking opportunities for objects to pass behind as various subjects/ objects are out of focus.

Writing in green indicates where I have analysed shots which have good opportunities to include visual effects. For example, these shots do have sufficient tracking points or are static enough to import 3D structures or animated flying craft. These shots may also

have plenty of sky space which is excellent for placing and animating hovering vehicles.

The Storyboards above indicate where I shall place my 3D structures and hovering vehicles within the environment and. I have also illustrated certain vehicle paths.