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Week 5

This week, our mentor gave us a lot of advice about our film, including film style, camera movement, and hero shot setting. So our team will keep revising and refining the shots, and I will remake the camera movement.

Besides, since I am a compositor, it was a challenge to create a composite shot that would fit the style of the film, and Professor Bridget suggested that I could find an art museum to shoot it as an alternative option to the hero shot, as well as an additional test shot of the product on location.

Color Palette

According to mentor Billy, We found that the color and style of the entire film still needed to be more unified, so I created two color palettes: warm and cold. I think the colors should not be limited to black and white, and gray, but at the same time, they should not be too highly saturated. I also reference a Bang & Olufsen advertisement when designing the color palette.

Everyone can refer to or use the above-marked HSB values when making shots. Then our group decided to choose the warm one.

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Live-action Shot

Location: SCAD Art Museum

Camera: Sony ILCE-7SM3

Focal Length: 28-60

I decided to find a background of an art museum, then use CG to create the speakers and booth, and finally use Nuke to composite.
I approached the SCAD Museum of Art staff and the film major chair to get permission to shoot on the museum's facade. I set the time for Thursday afternoon at 5 pm because it was cloudy and I didn't want the light to be too strong. I also enlisted the help of another film major, Ziyou Wu. I communicated with him to get the right shots, and Ethan was in charge of shooting HRD.


We shot different angles and camera movements so that we could have more room to try to put live-action footage in the film. I also shot a background without any objects so I could design the placement of the objects more freely in Maya(left 1).

Color Management

These shot was shoted by Sony in Log3 - S -Gamut3. Cine colorspace, so I need to transfer the colorspace into ACES in Nuke.

Before

After

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Then I chose the video on the right, made the camera tracker in Nuke and imported it into Maya to start model part.

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I put a concrete texture similar to the floor and the wall on the CG blocks. I also created a dome light with an HDR map Ethan created. Then I found that if I wanted to composite them together, the chair in the live-action plate should also have an effect on the block created by CG, so I modeled the chair in the live-action plate and created another render layer to render the shadows created with the block.

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Nuke Node Tree

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Integration Shot

Previs
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