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Category: vfx fundamental

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VFX Careers Research vfx fundamental

Job Role 1 – Layout artist (Entry Level)

The layout artist is the person who determines the position of the virtual camera and choreographs the position of the characters and their movements during the course of the shot. Their work begins with the receipt of an animatic (a.k.a. story reel) of a sequence. The layout artist’s job is to lay the groundwork for post-production shots in the visual effects production process.

The layout artist talks to the director to understand the story and the emotion and to determine the language of the shots to be used. They then consider the framing of the shots, the composition, camera angles, camera paths and movements, and the rough lighting for each key scene. This is the job of the layout artist, in other words, to make the virtual camera tell the story better.

Becoming a layout artist requires a number of different skills. The first and most basic is to learn and become proficient in vfx-related programs. He will need to create realistic 3D environment layouts in VFX programs, temporary layouts and prop modelling if necessary, and facilitate collaboration with environment artists. The layout artist gives the characters some poses and rough animations and then animates the cameras to give them nice movement and continuity between shots and scenes. This is a starting point for the animator to work from.

Then as a layout artist, it is also crucial to have a knowledge of photography and be skilled in operating a virtual camera. A layout artist has to have an eye for composition, know how to tell a story through the camera, understand camera and lighting techniques and know how to use them to affect mood. Using the virtual camera, layout artists experiment with different angles and shots to find the best angle and shot for each shot. They have to look at the scale of everything and see if it works in the scene.

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maya nuke vfx fundamental

TERM 1 SHOWREEL

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maya vfx fundamental

Week 10: Behind the Scenes: Head 5_Final

This week, I first tested the accuracy of each expression and the expression of vowel sounds and consonants. Then I made animations based on the syllables that appeared in the video clips that I wanted to imitate, and when they appeared.

Then I set up the lighting based on the background and video I found to make them as realistic as possible. And then I’m going to render this animation. Then the nuke is exhausted for special effects and background compositing. Then put into Premiere Pro for simple audio and video fusion. This is my final result.

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maya vfx fundamental

Week 9: Behind the Scenes: Head 4

This week I tried facial binding using the same method as the original bone binding. But I found a new method on YouTube, and I think it’s a very good method. So, I thought I would learn and experiment with this method. Here’s a link to a video of me learning:

This is a good idea, but it takes a lot of learning and experimenting. After a week’s time, I tried six times, finally successfully binding.

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nuke vfx fundamental

WEEK 9 NUKE BALLOON FESTIVAL TEST

On the basis of the last hot air balloon project, the teacher asked us to create. I wanted to create a hot air balloon adventure in a stormy valley with a fierce gun battle. I first separated the mountain with roto and tracker, and then combined the dark clouds with the background of the mountain in the original video. And then we combine them with footage of a shootout. Finally, add rain effects and the whole video palette.

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nuke vfx fundamental

WEEK 9 NUKE clean up

2D Cleanup is an exercise for Week 9. For comparison and exercise, I added new nodes to the original file. The purpose of the cleanup is to combine previous roto and tracker nodes with other nodes to clean up the screen and add objects to the screen. After creating the CornerPin2D in the tracker node, add the text to the screen by copying and adding the text node to that node. The erase effect is implemented through RotoPaint. In this case, I can replace some objects in the frame with backgrounds by copying the brush. The Premult and FrameHold nodes then allow them to be mixed with pictures.

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maya vfx fundamental

Week 8: Behind the Scenes: Head 4

In this lesson, we have learned to make a simple model of the mouth. First the lips are extended inwards, then the teeth and tongue are made separately. Finally, combine them together for later binding.

This week’s Maya header model fixes the details and changes from last week’s work. The reason for the fix is that we need to use this model for animation. If there is a problem with the model or weight, the animation process can be difficult to fix, so we spent a whole week modifying the model and weight details.

Due to my model, I failed to brush the weights 5 times and my model became very scary. This allowed me to go back to the drawing board and make what I thought was a perfect model.

Because of this model, I summarized the disadvantages and advantages of all the previous models. I avoided all the failures, I was more careful, and I was more skilled. Thanks to this almost perfect model, the uv fit was also very smooth this time.

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nuke vfx fundamental

WEEK 8 NUKE Planar tracking

This week’s lesson focuses on 2D tracking and using multiple trackers to create accurate 2D pins for surfaces. At the same time, we use the tracker to stabilize the lens, make it easier to use, and then reintroduce the instability to properly merge all the elements. The poster exercise is based on rotating the two images together. Also, I colored the entire video first. roto was then used to eliminate the pole, thus completing the shadow relationship between the pole and the poster. Finally on this basis using the previous tracking to add a poster of their own.

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maya vfx fundamental

Week 7 MAYA RIGGING

In this lesson we learned how to bind bones to a model so that we can animate it. First we learnt what an articulated skeleton is, how to create one and learned about the clumping relationships of articulated skeletons. We then bound the skeleton to the model. Finally we learnt how to draw the weights of a skin. This session was one that required patience for us. We should start by making a simple expression of a raised head to give us a reference for when we draw the skin. Drawing the skin is a great test of skill and patience. I have been working on this for a long time.

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maya vfx fundamental

Week 6: Behind the Scenes: Head 2

In this lesson we first learned how to use the uv editor. Use the various tailoring tools in the uv editor to match the uv to the map. This is the first time for me to edit such a complex model, which is a big challenge for me. I spent a lot of time working on it after class because I never got it right. Because my model has too many faces and is asymmetrical. My classmate suggested me to make a new model with fewer faces and symmetry.