Much of the team was sick over the weekend. We were still tackling the idea of removing the pillar, which up until that point was an essential part of our transition between environments/lighting setups. As well as creating a background transition that felt like it was part of the scene entirely in comp.
- Began process of removing pillar in comp
- Removed 3b modern Vespa in favor of continuing 3a modern Vespa without cutting
Assisted with compositing of Vespa vehicle transition
Cut and submitted weekly edit
Week 10
This week I honed in the look of the transition. This addition has been an interesting challenge both technically and creatively, as the shot was not designed with this background motion in mind
Designed transition look
Initially, an electric edge to match the magic energy in Wei-Lin’s FX. Progressively made it less jittery. After mentor feedback, pivoted away from electricity in favor of a soft/noisy edge
Used red and green noise (projected onto the normal pass) as a screenspace displacement map to create a sense of depth / uneven surface in the transition wipe, especially in the distance where parallax distortion made the edge appear flat.
Composited shots 1 & 2
Focused on the specularity of the Vespa, amplifying the reflection pass, saturating the diffuse pass, and increasing contrast on the specularity pass + using a fresnel pass as a grade mask
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