Computer Animation Project Proposal James Robertson L1035697

EXPLORING COMPOSITING & VFX

Overview: I aim to produce a short VFX shot focusing on realistically integrating CG elements with real world images. The shot
will depict a destroyed alien craft in the middle of a field surrounded by steaming rubble and smoke. In undertaking this task I
will be researching several techniques that are new to me as well as using my strengths garnered from previous years. I aim to
produce a visually interesting piece that will go into my portfolio and hopefully get me closer to a job in the VFX industry,
specifically in composting.

Motivation: This project was chosen for multiple reasons.

It utilises a wide range of techniques used in the VFX industry today.
It challenges me in my areas of interest: Compositing, Texturing/Shading, Rendering and Dynamic Simulations
If photo-realism is achieved as intended, it should make a good portfolio piece which will stand out to prospective
employers.
I have tailored the project towards producing a film which will demonstrate my compositing skills mostly as that is the
sector of the industry I would like to enter.

Technical Overview:
The project will be a realistically 3D modelled UFO & Alien corpse textured and sculpted using the latest production methods
and software. The Modelled craft will then be placed into a digital matte painting using photographs and painted/modelled
elements to create an environment. This will be done in Nuke using its 3D space by projecting images onto cards and animating
a camera to give the effect of a moving video adding parallax to the scene. Dynamic smoke and fire will also be added to the
wreckage. All elements should come together to form a cinematic looking, realistically rendered scene.

The project will include all of the following disciplines to some extent:
Modelling: The crashed UFO, rubble and other background elements will all be modelled in 3D.
Sculpting: Details on objects will be sculpted, and then maps will be exported and applied to the original meshes. Any
organic forms will be sculpted then retopologised for use in the final product.
Texturing/Shading: Textures will be painted directly onto the models in a poly-painting package.
Shader networks will be developed within Mayas Hypershade.
Lighting/Rendering: The scene will be lit and rendered within Maya. Rendered in layers with multiple passes later used
in the compositing section of the project.
Compositing: All 3D elements will be compiled together with photographs to form a complete scene/Moving digital
matte painting. Using Nukes 3D space different elements will be layered on top of each other to give the scene parallax.
All parts of the composition will be projected onto cards within Nuke allowing them to be used in 3D space.
Dynamics: Smoke and fire effects will be produced using fluid effects in Maya. They will then be added to the
composition.
Footage Acquisition: Location Photographs will be taken, as well as HDRI imagery to be used for lighting. Footage of
smoke, fire and dust may also be acquired to mix with the simulated effects.

Software Used:
Maya (Modelling,Shading,Lighting,Rendering,Dynamics)
Zbrush/3D-Coat (Sculpting, Retopologisation)
Mari/Photoshop (Texturing)
Nuke/After Effects (Compositing)

Areas of Investigation:
High-Resolution texturing within The Foundrys Mari.
Nuke Projection and 3D Compositing Techniques.
Maya Fluid Dynamics producing smoke and fire.
Sculpting (to a small degree)

Using all of the resources available to me I will produce a concise document detailing my processes and learning experiences. I
will be maintaining a weekly blog, in which I will post my progress in an easily digestible format. This will include research with
references, progress videos and tests, photographs, sketches, thoughts, any feedback I have received and more information I
deem relevant to the project.
Within the University I have access to the Library where I will be sourcing a lot of my research material, as well as the newly
acquired Digital Tutors
i
floating licences, and the DVD tutorial Jukebox.
I will also be using the internet for researching techniques and will post about sites used when compiling the blog posts.


I have created a rough Pipeline and Workflow diagram to show how I plan
to complete the project. These are variations on other VFX pipelines I
have viewed around the web and in publications
ii
. These are guides, and
any other steps that are taken or software that is used will be
documented in the final report.

When selecting this project I looked through several successful
compositing show reels
iii
and industry veterans work, including CG
Student of the year nominees
iv
. This gave me a good idea of the scope I
should be aiming for and the techniques I should be demonstrating.

From my findings, a good Compositing show reel piece should contain
multiple skills from the field. And use the industry standard software,
which in this instance is Nuke. Other disciplines such as Modelling and
Texturing etc. seem to be good additions as they show a range of skill
across different packages, and a competent workflow/ability to fit into a
production pipeline.

Project Deliverables:
The final product will be a 20-30 second long VFX piece containing all of the disciplines listed above.
A breakdown reel will also be produced to accompany the final product.
A written report will be produced following my progress throughout the task and including informative notes and research into
specific VFX techniques, roughly 4000-6000 words.
Literature Review:
Several Books, Journals and Websites will be used throughout the duration of this project. Some of the Key texts on each subject
include:

Compositing The Art And Science of Digital Compositing (Brinkmann, 2008)
After Effects CS6 Visual Effects and Compositing Studio Techniques (Christiansen, 2013)
Nuke 101: Professional Compositing and Visual Effects (Ganbar, 2010)
Digital Compositing with Nuke (Lanier, 2013)
Compositing and Visual Effects - Essentials for the aspiring artist (Wright, 2011)

General VFX - The VES Handbook of Visual Effects (Okun, Zwerman, 2010)
Cinefex (Various Authors, 1980-2013)

Sculpting - ZBrush Creature Design Creating Dynamic Concept Imagery for Film and Games (Spencer,2012)

Texturing - Painting Realistic Skin in Mari 2.0 (Holt, 2013)

Simulation - Introduction to Maya Fluid Effects (Hollingsworth, 2011)


Project Plan:
Below I have included a schedule outlining when I hope to complete each task in the module. Weeks will be split into two,
working on both the Computer Animation Project and Animation Group Production modules. I will have more work at the
start of the Group project and the end, therefore more time will be allocated to the Computer Animation Project in the middle
section of the year (late November-mid January).




Schedule: A live version of my schedule that will be regularly updated with more detail is available at the following URL:
https://www.tomsplanner.com/public/l1035697/
Password:FYP



I have left a lot of time free during the Testing & Evaluation period to allow for complications. I have also left a week before
hand in completely free to finalise everything and make sure it is prepared for submission
The project has been designed in such a way that there will be no ethical problems. I will not be involving anybody in my
research, nor producing any offensive material of any kind. Therefore after reviewing the Universities Policy, Procedures and
Guidelines for Research Ethics (TU Research Governance, 2012) I can safely say that there will be no issues.



References:
BRINKMANN, R., 2008. The Art And Science of Digital Compositing. Second edn. Morgan Kaufmann.
CHRISTIANSEN, M., 2013. After Effects CS6 Visual Effects and Compositing Studio Techniques. Peachpit Press.
GANBAR, R., 2011. Nuke 101: Professional Compositing and Visual Effects. Peachpit Press.
LANIER, L., 2013. Digital Compositing with Nuke. Focal Press.
OKUN, J.A. and ZWERMAN, S., 2010. The VES Handbook of Visual Effects. Focal Press.
SPENCER, S., 2012. ZBrush Creature Design Creating Dynamic Concept Imagery for Film and Games. Sybex; Wiley.
WRIGHT, S., 2011. Compositing and Visual Effects - Essentials for the aspiring artist. Second edn. Focal Press.
Cinefex. 1980-2013. Cinefex, .
HOLT, J., 2013. Painting Realistic Skin in Mari 2.0. The Gnomon Workshop.
HOLLINGSWORTH, W., 2011. Introduction to Maya Fluid Effects. The Gnomon Workshop.
UNIVERSITY, TEESSIDE., 2012-last update, Policy, Procedures and Guidelines for Research Ethics.
Available:http://www.tees.ac.uk/docs/DocRepo/Research/ethics.pdf [10/14, 2013].

i
DigitalTutors. Available: http://www.digitaltutors.com/11/index.php [10/15, 2013].
ii
ALBDRI, A., , Generalist VFX Pipeline. Available: http://vfxnote.blogspot.co.uk/2012/03/generalist-vfx-production-
pipeline-for.html [10/15, 2013].
WHITEHURST, A., , The VFX Pipeline. Available: http://www.andrew-whitehurst.net/pipeline.html [10/15, 2013].

iii
VARIOUS., The Mill Showreels. Available: http://www.themill.com/showreels.aspx [10/15, 2013].
MATIS, A., Compositing Reel 2013. Available: https://vimeo.com/73408164 [10/15, 2013].

iv
KSHITIJ, K., Compositing Reel 2012. Available: http://www.cgstudentawards.com/2013-entries/463-khanna-kshitij-
p [10/15, 2013].

LEHMANN, B., DemoReel 2012. Available: http://www.cgstudentawards.com/2013-entries/480-brice-lehmann [10/15,
2013].