Hasta La Motion!

Will this be good enough? And so, what kind of settings should I use to avoid problems after? (Shutter, framerate, etc.)

I’ve read here that it might be hard to track footage from a CMOS camera, but i’m not concerned that much about that.

Thanks a lot

I’m very experienced in the areas of 2D composites and motion graphics. I’ve done a lot of combining images, footage, stock elements, etc to make a shot. The problem is that I learn things as I have to do them. I’ve never been required to composite 3d models into a shot.

That said, I’m trying to learn how to do them using a 3d tracking program like Nuke, PF Track, or Boujou, but even still, I really want to understand how to create a cgi composite from start to finish.

I was wondering if anyone could list the workflow steps to creating a 3d composite shot (with movement so it would involve tracking) from pre-production to post production. This would include shooting the footage, at what point I’d need the model, would I need the maya project file or is there an output format that preserves the 3d data that would allow me to insert the model into the 2d shot and have the perspective change in conjunction with the camera? These are all things that I have utterly zero experience with. I’m meeting with some buddies this week who are going to show me how, but all in all I want to at least learn the mechanics and process before I meet up with them so I’m not a deer in the headlights.

Any info would be great, thanks.

We’re gearing up for a comping project. The job was shot on the Red camera. We’ve been supplied with 10-bit Log DPX files and asked to deliver our comps as the same. I’ve got a few questions about how we should set up our projects and interpret the plates:

-I’m assuming it would be best to work in linear 32-bit space. Is there a workspace preset that works best with linearised Red Log files?

-Does the workspace have any impact on the comps, other than being 32-bit? Does it matter which workspace we use, or should we just go with the one that looks best?

-With the footage we’d be applying a Cineon log to lin effect to our incoming material and a lin to log conversion to our output comps. Can these settings vary with the Red? Or is there a standard here?

-What is the difference between applying the Cineon log to lin and applying the Cineon settings in the interpret footage dialog?

I think that’s it. But I’d welcome advice from anyone who’s actually done this. There doesn’t seem to be loads of info online.

Cheers,

W

I didn’t get the answer through the search function – so I got a few questions:

1.
Is it important how detailed the vfx shot breakdowns in a reel are?

Meaning: Do I have to show every single step in the order I made up the shot or is it enough to let them see that the shot contains for example 3D projection/comping, multipass renderings, greenscreens and matching everything – so that I can show some fast pass comping and the major CCs but focussing on the final result – so it’s more like "okay, he is able to do all major compositing techniques as well as rotoing/keying etc, but I’m happy he didn’t show us every single step but more his ability to match all elements creatively resulting in a nice picture"

2.
When is it best to do the Breakdown? or is it up to me?

I saw some VFS reels in which they’re showing the breakdowns after the main video. Professionals (individual people or companies like DD) are just showing a before and after via a wipe – sometimes with a text insert what their task was. … Are people getting stunned when the see tons of tiny steps which made up the shot or more before and after?

This is not about how to edit my reel, which things first and so on, but I rather wish to know which method is more professional and preferable applying for a job as a comper (not roto artist:p)

Iam glad to get some feedback on this 😀

cheers