#big sand

[thedangermakesitfun]

ethical and moral conversations about lotr and the mechs in the span of one (1) 2hr class winning at life rn

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September Sunset by John

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First day of Summer by John Via Flickr: It's raining of course but that just brings out a whole different kind of beauty. Orchids are amazing this year.

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Over Loch Gairloch by John

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The Cuillin by John Via Flickr: From Melvaig on the mainland.

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Week 2 - Sally Coleman Music Video Shoot

This week was a little different than what was scheduled, as Sally Coleman was in The Void this week for continued support for her own project of her completely virtual band Big Sand!

(this is the first music vid haha) This meant that we were sort of split up as a workshop as a lot of problem-solving was involved in helping Sally as well as more work with the mocap suits. 

Here is a much more full and detailed diagram of how the Vicon system interfaces with the computers. Now with the addition of Unreal Engine into the pipeline, it's much more clear how the mocap suits take live movement and translate it into live animation. By taking the tracking information from Vicon, the model rig is retargeted in Motion Builder which pairs the tracking markers to the 'bones' of the model. This is finally input into Unreal which will show the movement in real-time actors puppeteering the models.

Here is an image of the Unreal scene from Sally's music video. CDW Studios was kind enough to actually give the file to Sally so she's able to interact and pose her own character in the scene in her own time. The files are organised but 'dressed to camera' so it's not rendered in its entirety as a 3D scene, but it is still usable for filming. We have also gained access to the files so that we could experiment with the fully rendered environment if we so choose so. 

We also got to do some facial motion capture! This was filmed in a separate software called Faceware which is much simpler than Vicon, (facial recognition software is scary) but has similar controls to a rigged face. So the sensitivity of the facial movements can be exaggerated to better fine-tune them to a specific model. 

Here is both Unreal and Faceware open at the same time to see what the live performance looks like in Unreal with the actual model. It's good to have both programs open to see how changing the calibration of the Faceware software affects the animation on the model. This way it can be changed to better suit the performance in the suit as well as on the model. 

At the end of the workshop, we managed to watch and aid in the filming of a few takes of Sally's new music video. This was the first time that all the programs and components were working together and in sync, ready for recording.

It was really helpful to see the software and technology in a commercial setting as it frames a lot of the work we do in perspective. The idea of using this kind of technology is to lessen the workload and burden for the post-production team. So it's interesting to see the production where a lot of the 3D and VFX are already finished and live.

[pervorsitas-a]

//im sorry

[highskinproductscdu]

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