C4D212 - Bazooka Lookdev and Modell

So what are we´re going to tackle ?

We´ll start – once again – with that shot in syntheyes and learn how to use the new lens distortion technique that syntheyes is now offering for an easy and accurate distortion result. Right after that we´ll have a look at how to get an object track solved properly. We´ll also discuss a few issues i ran into during the shoot of that plate, as we´re doing all this shots in an guerillia like production.

So for those of you taking my C4D212 course … get excited about it, we once again got a lot to tackle during this first class of the shot.

C4D212 - Bazooka - Tracked scene in Syntheyes

Breakweek is now over and we´re going to start again with class06 of the courses this week. Therefore i jus wanted to give you a sneak peak at the shot we worked on in class04,05 and 06 and a little behind the scenes info on that:

Shooting.We started with a little shoot in our office, prepped our kessler crane and got our Canon 5D attached to it. As a result we ended up with a slight camera movement and a plate that looked like this:

c4d212 Holodesk Raw Footage

Tracking. For this shot i prepared some tracking markers, as we´d be shooting big simple surfaces with hardly any details in it. For that we went trough the shot and placed a few markers where we´d need them and where we´d be able to paint them out again pretty easy. Due to the lack of details, i went with a fully manual tracking approach using only the markers, that we put into the scene.We also tackled Lensdistortion as we shot on a quite wide 24mm lens on a full frame 5D markII.

c4d212 Holodesk Tracking with Syntheyes

Modelling. We created all our 3D Assets in Maxon´s Cinema4D. We started with creating the Geometry and modelled the whole Desk using standard modeling techniques. With the help of Cinema4D´s Mograph module we created nice looking animations for our holographic Assets in minutes and with ease. Beside that Mograph was a huge time saver when we added elements and details to our Desk.

c4d212 Holodesk 3D geometry for the shot

Lighting. To light up this scene correctly, we took a batch of HDR photos with the Canon MarkII and our 8mm Sigma fisheye lens. We stitched those together and created an 360° Panorama with multiple Exposure Steps. This panorama was mapped onto a skydome lateron.

c4d212 Holodesk HDRI to light the scene properly

Rendering. Once we got our 3D scene set up properly, we rendered the shot out in 3 passes including one for the desk and floor portion, the 2nd one for the lighting of the Holodesk and the last one for all the holographic elements in the scene. Beside the beauty passes we set up a ton of object buffers to make sure we could adjust every asset in compositing without the need of rerendering.

c4d212 Holodesk Spreadsheet of the Renderpasses

Compositing. After we got all our Assets back from rendering, we started off with the compositing to apply the final touches to our scene. We added up some more volumetric lighting look&feel to our holographic assets, and did some technical adjustments to blend the CG elements in smoothly. With some Roto and Color Correction we placed everything where we wanted it to be, and finally came up with the finished shot.

c4d212 Holodesk Final Shot

Feel free to enjoy the video!
Part 01 here.
Part 02 here.

In my C4D212 course we´ll cover some complete shot production from beginning to end, from tracking to compositing using Syntheyes, AfterEffects and Cinema4D.

Feel free to enjoy the video here.

I´ll cover some starter Nuke stuff, aswell as intermediate AfterEffects and Cinema4D content.

DROPLETS is a movie about ideas. But it’s mostly a movie about the feelings, when you have no idea. Oppression, disorientation and fear can be paralyzing, but are often a very important element on the way to the perfect idea. The movie DROPLETS shows this feelings in an experimental way.

For more information about Simon Fiedler and his work, check out http://www.sugarview.de/ 

How-To 02: covers the compositing of the 3d mask with After Effects. How to integrate our cg mask into the live action footage, getting blacks, mids and whites right, creating an overall look,….