Finally, I completed my crypt project. It took me one more working day than my expectation to finish it. And I still need extra time to document my blog.
I didn’t add Lightwarp in my script as I think the lighting direction is not coming from the background of the crypt. It might be not helpful in this case.
I can’t manage my time to complete a fully final version on the submission day (3pm 17/3/2022), but I will definitely plan 1-2 more working days on it. (This blog will still be updating on 18th, 19th 20th Mar)
So here is the semi-final version for submission. As you can see, the roto is still missing and some color matching adjustment is needed.
There is still a load of parts I havn’t complete yet.
Using 3D projection to project a card with UV mapping on the same card, to get a much easier workload in roto. Then merge the roto mask into the CG to get a nice roto.
I think the metal surface of my machine is too perfectly smooth for that environment, therefore I used the Keylight node to select some area in the ID pass. Plus, using the UV pass, I can warp a layer dusty noise on top of my model. Hopefully, it can be a subtle imperfect to enhance the appearance.
The result is not perfect. When I turned the exposure up, it is easy to see the edges of hair are still not fixed yet. However, it is a practise for me to train my brain to make the concept to know using Merge Minus and Plus to gain a bit details of lightness for edges.
Version 01 without grade and color correction
This version is missing matchmove tracking at background, color correction and edges adjustment.
Version 02 -Semi Final version
I might need to ask my fellows opinion on this semi final version as I think my eyes are too familiar with this shot. I can’t make any more further adjustment. I did a QC at the end of the script as well. It is a saturation node to bump up the saturation to extreme to match RGB.
I tried different node for clearing green screen. For hard key as core matte, I applied IBKColour and IBKGizmo. For soft key as edges matte, I think Keylight did a better job. I also think the Keylight work on despill effectively, so one main core despill is good enough for clearing the green on hair.
I think I did the luminance key for this homework correctly, but I don’t understand how to make this alpha back into the footage as a mask after the stage in this moment. Should I use a roto? A shuffle node to put alpha back into RGB ? I don’t know what to do 🙁
Using the Colorspace node to shuffle the colorspace input and output is useful for selecting the details in alpha, which allows us to control easier in the lum key.
However, our eyes need some times to adjust the relationship between HSV and the black and white data.
I found this blog explain HSV quite clearly. Indeed, the Python coding stuff is entirety another master degree, but the image in this blog clear my minds with thinking HSV with black and white pixels showing on screen.
| How to Get HSV Values From RGB Colorspace and vice-versa In Python |
| Published on : August 27, 2020 Published by : Syed Faizunnabi |
In shorts, a full range of color is transformed into number 0 to 360 or 0 to 100, and using black = 0 and white =1 for representation.
R = HUE:
Hue literally means colour.
As Red to Magenta = 0 to 360, related to Black to White = 0 to 1.
G = Saturation:
Saturation pertains the amount of white light mixed with a hue.
As plain to rich color = 0 to 100, related to Black to White = 0 to 1.
B = Luminance/ Value
Luminance is a measure to describe the perceived brightness of a colour.
As dark to bright color = 0 to 100, related to Black to White = 0 to 1.
I d like to turn this bright and neat hospital corridor into a spooky bluish, and horrible scene.
When I add point light, it glitched my scene unreasonably. Did I make something wrong ?
However, by luck, I tried to turn the Project3D only project on front, instead of both. The glitch was gone !
Maybe I will add a little bit rotation and handheld movement in it.
I just found out there is an easy way to add handheld motion, instead of keyframing manually digit by digit. But maybe I will do it next time, as it is not necessary for my scene here.
The website here compressed my result a lot, and causing some noise on it. I added it in YouTube to show a better HD result. But still, I am satisfied with it at this moment.
This week, I have to export the camera, matchmove axis, wireframe and geometries into Maya. With the image plane linked with my clear up version of image sequence. My engine, in turn, “effortlessly” located on the axis which I decided.
Next stage, I would like to do a roto for the entrance of crypt. And maybe add some pipes objects on the wall of crypt as well. Also, I might re-design the pace of motion, as it didn’t hustle enough.
More axis are added into scene
At first, for the tracking marker of the left side of crypt entrance, I used frame 50 to do a patch to do clear up, as I think it is a patch that oriented to the camera mostly. However, it become too blurry when the patch is becoming close to the camera.
Therefore, I tried frame 150 to do the patch. And I think it is much better than before.
With the same principles, I chose the frame for clearing up track markers accordingly as following :
Among all kinds of methods to remove markers, personally I think Inpaint did the best result in this shot. Inpaint is similar to Unpremult and Premult, but it helps a lot to add back details on patches.
I selected frame 1013 to do a framehold , but maybe it is not the best options for this shot. As I can still see some circular shapes on the face, while the actor turned his head.
And there are differences for me to turn off the default selection on graphic card in rendering SmartVector. This in turn, allow the result got less error distortion.