Archive for the ‘Compositing’ Category

Tips: Using RGB mattes in CG compositing

Sunday, April 12th, 2009

tips_32x32maya_32x32shake_32x32

 

 

 

This topic came up recently on CGTalk and I also covered it in the compositing course I taught at the Queensland College of Art.  I do have a video screencast as well that I did that I will try and dig up as I think it is on my main PC which is in pieces at the moment.

 

Inspiring, no?

The question was: “How do I use ID passes (or RGB mattes) in my compositing?”

 

I guess the first place to start is to remember that compositing is all about colour channels.  Pretty much the first thing you do when you get your plates is check the colour channels (red, green and blue) to see what kind of information is there.  When you are working with straight CG images, it is a bit different.  You will often have various black and white mattes rendered out for you to isolate various objects in a scene.

 

As we (hopefully) know by now, mattes are essentially greyscale (grayscale for you North American types) images that affect an area of your based on the intensity of the pixel colour value, usually with pure white affecting the change the most and black affecting the least.  These can be things like images, patterns, keys or rotoshapes.

(more…)

Computer gear – What’s kind of gear do you absolutely need (or want)?

Sunday, March 29th, 2009

thoughts_32x32

 

 

 

I will start by saying that I will avoid the whole Mac vs PC debacle.  Suffice to say that with Shake being dead, the case for owning a Mac purely for compositing has been dealt a blow.  Of course Nuke runs on Mac (quite nicely apparently) as does 3D software such as Autodesk Maya (sub-par compared to PC and *nix) and Houdini (stable, from all reports).

 

Here’s what I consider the minimum gear to work quickly in CG:

 

Two Monitors

 

The monitor of choice

The monitor of choice

This should be a no-brainer, but if you haven’t experienced the joys of a dual monitor setup, you are really missing out.  Thankfully these days even lowly video cards have dual DVI-outs, so it is as simple as inserting the card and connecting up your monitors.  Some software makes good use of the dual monitors with the second being used as a reference monitor, such as The Foundry’s Nuke, while others pretty much just use the second monitor as a storage space for all your floating palettes (Adobe Photoshop).

 

 

Other than that, dual setups are perfect for training as you can have the video open on one monitor while following along on the other.  Watching video training on a single monitor is about as fun as having starving penguins kick you to death and then eat you.

 

What monitor?  Frankly, for the price you can’t go past the Dell 24″ 2408WFP.  Sure it might be a little more expensive than others, but it has excellent colour reproduction thanks to it’s 8 bit panel.  Most of the cheaper monitors use the cheaper 6bit panels as far as I know.  Keep an eye out for weekly sales and scour the internet for extra 20% off codes that are sometimes emailed out.  Combine them and get a great monitor for peanuts.  Of course, if you are just doing non-production level stuff at home, there are a bunch of good 24″ models these days and prices have plummeted.  SAMSUNG, ASUS and BENQ put out a couple of good ones.  ACER seems to be a bit lower quality to my eye.

 

Tablet

 

In the words of They Might Be Giants, S-E-X-X-Y

In the words of They Might Be Giants, S-E-X-X-Y

It might be hard to believe, because I am so awesome, but for some bizarre reason I used a mouse with Shake for the first year of production.  Why?  Buggered if I know.  I tried using a tablet a couple of times but I found it quite unwieldy.  When I changed studios and was essentially forced to use one, it took me about 2 solid weeks for it to feel totally natural.  Remember that I had been using a mouse for maybe 18-19 years, so cut me some slack!  I have since started using the tablet for my 3D work and again, while unwieldy at first, you soon get the hang of it.

 

 

Check out the new Wcom Intuos 4 for some freaking sexxalicious tablet goodness.  Do you need the latest thing?  Not really.  Keep an eye out for run out stock of the excellent Intuous 3’s.  At this juncture I would only really recommend Wacom.  I know some people, especially students, are tempted by cheaper products, such as Genius, but really, you get what you pay for and you can claim it on tax.  Tablets and monitors are like shoes . . . you use them everyday and they are critical, so don’t sell yourself short but buying cheap gear.

 

Video Card

Any decent gaming card.  It has been well established that Quadro’s offer negligible performance benefits for the average user.  Get your studio to buy them if you desparately want one, and even then I think they would baulk at shelling out the kind of cash nVidia ask for those things.  Some people may swear by ATI, but nVidia just seem to be more stable across all your needs.

 

Chair

 

My bottom wants to meet this chair

My bottom wants to meet this chair

Chairs?  What the heck are you talking about Matt?  Who gives a sod about chairs?  I admit that this is a luxury, but only to a certain extent.  Like  a monitor, a chair is something you will be using pretty much every minute of your working day.  You are sitting on your arse all day, so why by uncomfortable?  The Herman Miller Aeron is the King of Chairs for the arduous bum-sitting marathons that are found in CG.  Expensive as all get out, but your cheeks deserve to be coddled.

 

 

 

 

 

 

And now for the pure insanity of Stefan Didak’s setup.  ”Look on my works, ye Mighty, and despair!”

 

 

Stefan Didak presents Gentlemen Start Your Monitors

Stefan Didak presents "Gentlemen Start Your Monitors"

 

 

.

Thoughts: My ‘Five Year Plan’ and the Global Economic Crisis

Sunday, March 1st, 2009

thoughts_32x32industry_icon_32x32

 

 

 

I am not sure about you guys, but just like the Russians I have a Five Year Plan.  As it happens, much like the Russkies, my Five Year Plan is going a bit pear shaped but that is because of capitalism, not the unattainable utopia of pure communism.  Don’t worry, this does actually relate to computer graphics and compositing.

 

We Will Turn the Five Year Plan into a Four Year One

At the moment there is not much work around.  Anywhere.  There is not that much work on in Hollywood, there doesn’t seem to be too much work in London and there is certainly not much work in Australia, which is a much smaller industry.  When I say there isn’t much work, I mean for people like you and me, not senior artists with 5+ years of experience in film or TV.  The Global Economic Crisis is biting hard and the industry is still stumbling to get things moving after the disastrous writer’s strike last year. Couple that with the possibility of an actor’s strike and I will be honest when I say I am not feeling too confident.

 

So what about this Five Year Plan?

 

Well, given that at time I went back to study I was a bit older than the average computer graphics student (I was around 30) and was leaving a very stable and reasonably paid government job, I gave myself 5 years to prove myself.  For me a prime measure of having achieved some kind of success in the industry was to be earning at least as much as I did in the government.  The way I see it (and you may not agree),  I have to really question doing visual effects if I can’t make money.  I would like to say that I would do it for the love of it, and I would in some form, but at age 34 I have bills to pay, I need savings and I need to think about my future.  Depending on how old you are as you read this, these may not be the same issues you have, but you will have them at some point in your career.

 

(more…)

Tips: Controlling blur on soft matte edges

Wednesday, February 25th, 2009

tips_32x32shake_32x32

 

 

 

9mins 53secs, 24.6meg Quicktime 840×526 h.264 mov


Here is a cool tip that was passed on to me by one of our supervisors on Australia.  The idea is to use a colour lookup curve to shape how the edges of your matte are blurred, pushing the white pixels out to the edge or pulling them back into the core of your matte.

 

As always, if you have any questions or tips post them here. I would be especially happy if you have your own blog and can show how to replicate these techniques in other software. I just don’t have enough time or knowledge to do the tutorials in each application.

 

 

.